Japanese Tea Bowl Shapes PDF

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Japanese Tea Bowl Shapes
Below are some of the shapes and terms. Thanks to Mike Martino and Tatsua Of Note
Tomeoka for help in the right direction. Any inaccuracies are mine.
Art Elements &
Click on any linked images or the list to the right for examples of tea bowls. Design Principles
Ceramic Artists Ceramics

For a printable version, click here.
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Tea Bowls And Resources
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鉄鉢形, Wa-nari: Circle Shape 椀形, Wan-nari: Wooden Bowl Grades

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Ceramics &
Tea
Tea Bowls
呉記型, Goki-gata: Goki Type 半筒型, Han tsutsu-gata: Half And
Cylinder Shape Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
筒型, Tsutsu-gata: Cylinder Type 碁笥底型, Gokezoko-gata: Go Komogai-
Stone Box Type nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
胴締, Dojimari-gata: Waist Type 馬上杯, Bajyohai: Rider's Cup Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/japanese-tea-bowl-shapes[28.2.2019 18:24:41]
Japanese Tea Bowl Shapes | flyeschool.com
tsutsu-
gata:
Half
Cylinder
杉形, Sugi-nari: Cedar Shape 井戸型, Ido-gata: Ido or Well Type Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
天目型, Tenmoku-gata: Tenmoku Komogai-nari: Komogai Shape Bowls
Type (抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
端反り型, Hatazori-gata: Curving 平形, Hiragata: Flat Shape 茶碗)
Lip Type 平形,

Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
馬盥, Badarai: Horse Bucket Shape 沓形, Kutsu-gata: Clog or Shoe nari:
Shape Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
砂浜形, Suhama-gata: Shoreline 桃形, Momo-gata: Peach Shape

Bowl
Shape
Type
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
筆洗形, Hissen-gata: Brush 編笠, Amikasa: Amikasa Straw Hat

Tea
Washer Shape Type
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
三角形, Sankaku-gata: Triangular 四方形, Shiho-gata: Four Sided
Bowls
Shape Shape
(抹茶
Komogai-nari: Komogai Shape Tea Bowls 茶碗)
井戸型, Ido-gata: Ido or Well Type Tea Bowls (抹茶茶碗) 筒型,

Tsutsu-
半筒型, Han tsutsu-gata: Half Cylinder Shape Tea Bowls (抹茶茶碗)
gata:
呉記型, Goki-gata: Goki Type Tea Bowls (抹茶茶碗) Cylinder
天目型, Tenmoku-gata: Tenmoku Type Tea Bowls (抹茶茶碗) Type
平形, Hiragata: Flat Shape Tea Bowls (抹茶茶碗) Tea
杉形, Sugi-nari: Cedar Shape Tea Bowls (抹茶茶碗) Bowls

(抹茶
椀形, Wan-nari: Wooden Bowl Shape Tea Bowls (抹茶茶碗)
茶碗)
沓形, Kutsu-gata: Clog or Shoe Shape Tea Bowls (抹茶茶碗)
胴締,
筆洗形, Hissen-gata: Brush Washer Shape Tea Bowls (抹茶茶碗) Dojimari-
筒型, Tsutsu-gata: Cylinder Type Tea Bowls (抹茶茶碗) gata:
胴締, Dojimari-gata: Waist Type Tea Bowls (抹茶茶碗) Waist
Type
鉄鉢形, Wa-nari: Circle Shape Tea Bowls (抹茶茶碗)
Tea
‹ Japanese Tea Bowl Parts up Komogai-nari: Komogai Shape Bowls
Tea Bowls › (抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
time well spent time to explore time flies Shape
Tea
Bowls
(抹茶
茶碗)
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鉄鉢形, Wa-nari: Circle Shape Tea Bowls (抹茶茶碗) | flyeschool.com
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鉄鉢形, Wa-nari: Circle Shape Tea Bowls (抹茶茶碗)
Of Note
Art Elements &

Design Principles

Traditions
The images below come from the Freer|Sackler Galleries. Click on an image to Contact
visit its original page for more detailed information.
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Ceramics
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Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Hagi ware tea bowl Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Tea bowl with design of flaming jewels, unknown Raku ware workshop
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/鉄鉢形-wa-nari-circle-shape-tea-bowls-抹茶茶碗[28.2.2019 18:25:04]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
Tea bowl in shape of rice bale
(抹茶
‹ 胴締, Dojimari-gata: Waist up Ceramics Artist Links › 茶碗)
Type Tea Bowls (抹茶茶碗) 平形,

Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
time well spent time to explore time flies
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
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Ceramics
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Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
Ceramics
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椀形, Wan-nari: Wooden Bowl Shape Tea Bowls (抹茶茶碗) | flyeschool.com
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椀形, Wan-nari: Wooden Bowl Shape Tea Bowls (抹茶

茶碗)
Of Note
Art Elements &

Design Principles

Traditions
Contact
The images below come from the Freer|Sackler Galleries and the National
Museum of Art. Click on an image to visit its original page for more Latest Reads
Students
information.
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Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Arita ware tea bowl Tea Bowl

Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
Tea bowl in hori-mishima style, Kyushu-related kiln 半筒型,
Han
http://flyeschool.com/content/椀形-wan-nari-wooden-bowl-shape-tea-bowls-抹茶茶碗[28.2.2019 18:25:17]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tsushima ware tea bowl with incised decoration
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Tea bowl in mishima style, Karatsu ware Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Raku Tea Bowl, late Edo period Bowls
(抹茶
‹ 杉形, Sugi-nari: Cedar Shape up 沓形, Kutsu-gata: Clog or Shoe
茶碗)
Tea Bowls (抹茶茶碗) Shape Tea Bowls (抹茶茶碗) ›

筆洗形,
Hissen-
gata:
Brush
Washer
Shape
time well spent time to explore time flies Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
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Ceramics
Links
Ceramics
Terms
Glossary
Knowledge
Frequently
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Answers For
Ceramics
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呉記型, Goki-gata: Goki Type Tea Bowls (抹茶茶碗) | flyeschool.com
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呉記型, Goki-gata: Goki Type Tea Bowls (抹茶茶碗)
Of Note
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Design Principles

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Students
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Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
Tea bowl, Goki type, early 18th century
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/呉記型-goki-gata-goki-type-tea-bowls-抹茶茶碗[28.2.2019 18:25:32]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
Inkyuzan ware tea bowl in Goki shape, with impressed cipher (抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Tea bowl, possibly Hagi ware, 18th century Hiragata:

Flat
Shape
Like the illustration above I did for goki-type tea bowls, the nameless sketch Tea
copy I originally went from looks more like Ohi ware and Raku wares, some Bowls
(抹茶
examples of which are shown below - which serves to emphasize that why a tea
茶碗)
bowl is called one type or another has to do with much more than subtle
variations in form. 杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Tea bowl in style of Ohi ware Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Kenzan-style Black Raku tea bowl with design of pines
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
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Glossary
Tea bowl, named "Omokage" (Memory), unknown Raku ware workshop
Knowledge
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Recipes
Ohi ware tea bowl with design of pine trees
‹ 半筒型, Han tsutsu-gata: Half up 天目型, Tenmoku-gata:

Cylinder Shape Tea Bowls (抹茶 Tenmoku Type Tea Bowls (抹茶
茶碗) 茶碗) ›
半筒型, Han tsutsu-gata: Half Cylinder Shape Tea Bowls (抹茶茶碗) | flyeschool.com
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半筒型, Han tsutsu-gata: Half Cylinder Shape Tea Bowls

(抹茶茶碗)
Of Note
Art Elements &

Design Principles

Traditions
Contact
The images below come from the Freer|Sackler Galleries. Click on an image to
visit its original page for more detailed information. Latest Reads
Students
Daily Notes
Documents
Grades
Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
Tea bowl in style of Korean punch'ong ware, unknown Raku ware workshop
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/半筒型-han-tsutsu-gata-half-cylinder-shape-tea-bowls-抹茶茶碗[28.2.2019 18:25:48]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Kenzan style tea bowl with inscription and design of narcissus
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
Yatsushiro ware tea bowl 椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Seto ware tea bowl in decorated Shino style Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
Black Raku ware tea bowl named Minogame (Mossy-Tailed Tortoise) gata:
Waist
Type
‹ 井戸型, Ido-gata: Ido or Well up 呉記型, Goki-gata: Goki Type Tea
Type Tea Bowls (抹茶茶碗) Tea Bowls (抹茶茶碗) › Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
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Ceramics
Links
Ceramics
Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
Ceramics
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筒型, Tsutsu-gata: Cylinder Type Tea Bowls (抹茶茶碗) | flyeschool.com
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筒型, Tsutsu-gata: Cylinder Type Tea Bowls (抹茶茶碗)
Of Note
Art Elements &

Design Principles

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Latest Reads
Students
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Documents
Grades
Gallery & Museum

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Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
Tea bowl, unknown Raku ware workshop
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/筒型-tsutsu-gata-cylinder-type-tea-bowls-抹茶茶碗[28.2.2019 18:26:05]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Cylindrical tea bowl with incised design of chrysanthemum Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Cylindrical tea bowl with incised design of stag and maple leaves, unknown Shape
Raku ware workshop Tea
Bowls
(抹茶
‹ 筆洗形, Hissen-gata: Brush up 胴締, Dojimari-gata: Waist Type
茶碗)
Washer Shape Tea Bowls (抹茶 Tea Bowls (抹茶茶碗) ›
椀形,
茶碗)
Wan-
nari:
Wooden
Bowl
Shape
Tea
time well spent time to explore time flies Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
about © 2011 robflye sitemap 茶碗)
Ceramics
Artist Links
Ceramics
Links
Ceramics
Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
Ceramics
Comics
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胴締, Dojimari-gata: Waist Type Tea Bowls (抹茶茶碗) | flyeschool.com
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胴締, Dojimari-gata: Waist Type Tea Bowls (抹茶茶碗)
Of Note
Art Elements &

Design Principles

Traditions
The images below come from the Freer|Sackler Galleries and the Raku Museum. Contact
Click on an image to visit its original page for more detailed information.
Latest Reads
Students
Daily Notes
Documents
Grades
Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
White Satsuma ware tea bowl Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Black Raku tea bowl named “Yamazato” Well
Type
‹ 筒型, Tsutsu-gata: Cylinder up 鉄鉢形, Wa-nari: Circle Shape
Tea
Type Tea Bowls (抹茶茶碗) Tea Bowls (抹茶茶碗) › Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/胴締-dojimari-gata-waist-type-tea-bowls-抹茶茶碗[28.2.2019 18:26:19]
tsutsu-
time well spent time to explore time flies gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
about © 2011 robflye sitemap Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
Artist Links
Ceramics
Links
Ceramics
Terms
Glossary
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Ignored
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Elements of Art/Design and Principles of Design/Organization | flyeschool.com
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Elements of Art/Design and Principles of

Design/Organization
Of Note
Whole books are written about each of these art terms, filled with definitions,
Art Elements &
histories, insights, tips, and examples - these pages are just the tip of the
Design Principles
iceberg. Each entry leads to its own page with some more information and
examples, which should grow over time - feel free to make suggestions. Clicking Ceramic Artists Ceramics
on any of the example images will lead to more information about the artist or Photographers Photography
work.
Traditions
Contact
The Elements of Art and Design:
Latest Reads
Line. Students
A continuous mark made on a surface by a moving point; it may be Daily Notes
flat (pencil line) or three-dimensional (a rod, groove, ridge, etc.) Documents

Line may be explicit - a line painted along the edge of the road - or
Grades
implied by the edge of a shape or form. Lines are used to outline
(diagrammatic or contour lines), create shading and show form (structural Gallery & Museum
lines, hatching and cross-hatching), decorate, express emotion, and direct the Visit
viewer's eye. Lines can be categorized as horizontal, vertical, diagonal, curved,

and zigzag. Now Playing Art
Art Links
Lines can be hard, sharp, straight, geometric; they can be organic, smooth,
soft, flowing, loopy, wavy. Elements of
Art/Design
Lines can remain a constant thickness (descriptive, analytical, objective, and
showing little of the action used to create them) or vary in thickness along Principles of
their length (flowing, calligraphic, lyrical, showing emphasis and something of Design/Organization
the gesture used to make them). Line
Shape
Expressive, gestural lines shout the force, speed and emotion put into their
Form
making. They swoop, slash, scar, skip, skid, stutter, sing, whisper, drip, bleed,
Space
splash across the surface. Lines that are sketchy and unsure express
Color
uncertainty and weakness, and are generally less pleasing. More confident
Value
lines left to build up as the artist attempts to capture her subject can display
character, process of investigation, and interest. Texture
Balance
Lines can loop closed around a shape and have no end-points (outline), or at Contrast
the ends they can be flared, frayed, splayed, rounded, tapered, or cut off at any
Emphasis,
angle.
Dominance
And Focal
Lines divide the space and volume they are in. At the same time, they can
Point
unite and tie elements together.
Harmony
See more. And Unity
Movement
Proportion
Shape.
And Scale
An enclosed space defined by a line or by contrast to its Repetition,
surroundings. Shapes are two-dimensional (flat): circle, square, Rhythm
triangle, organic blob, etc. In everyday usage, the word 'shape' is and Pattern
also used to talk about three-dimensional form, often as something of a Variety And
shorthand for referring to the two-dimensional outline or silhouette of the Variation
object. When discussing art, your meaning will be clearer if you reserve using
'shape' to talk about two-dimensional shapes on a plane. Ceramics
Comics
See more. Photography
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Form.
A three-dimensional object: a defined volume of space.
See more.
Space.
The distance or area around or between elements of an artwork. The
illusion of depth created on a flat surface through the use of
perspective, overlapping elements, size, level of detail, color and
value.
See more.
Color.
The visible spectrum of radiation reflected from an object. Three
properties of color are:
Hue – The name of the color (red, green, etc.)
Intensity or Saturation – The purity (brightness or dullness) of the

color. Pure red is bright; red mixed with a little green becomes less intense,
more neutral.
Value or Brightness – The lightness or darkness of a color. How much

white or black shows through or is mixed in. Can be used to depict light
and shadow on a color and help show volume/form.
Other terms used to talk about color include tint, shade, tone, temperature
(warm, cool, neutral), and various color harmonies or schemes, such as
monochromatic, analogous and complementary.
See more.
Value.
How light or dark an object or element is, independent of its color.
Shading uses value to depict light and shadow and show
volume/form.
In general, work using a full range of values will stand out more and be
visually richer and more pleasing. Purposely using a limited range of values
(all darks, grays, or lights) can set the mood of the piece, from mysterious to
peaceful to ethereal. Work that uses only very bright and very dark values,
with no grays or middle tones, is very contrasty and can be very bold, stark
and stylized.
Low Key and High Key

Pictorial works that exhibit mostly dark values (dark or minimally lit subject
on dark background) are called low key, while works with brightly lit subjects
and washed-out or white backgrounds are called high key. High key is used in
female portrait photography, for example, and can convey delicacy, innocence
and dreaminess. Low key work can create a sense of the nocturnal and
secretive, of things hidden just beyond sight.
See more.
Texture.
The tactile sensation or feel of a surface (rough, smooth, spiky, etc.)
or how something appears to feel.
See more.
The Principles of Design and Organization:
Balance.
The distribution of interest or visual weight in a work. If all the
visually interesting elements of a work are centered in one spot, the
work is off-balance and the viewer's gaze will be stuck in one place,
ignoring the rest of the piece. A balanced piece of work will have art elements
arranged such that different areas draw the viewer's eye around or through the
whole piece. Some types of balance are symmetric, asymmetric, and radial.
The concept of visual balance is often illustrated using a seesaw. Like a seesaw,
when two elements of an artwork have the same visual weight and are on
opposite sides of the center, equally distant from it, they balance. Likewise, a
smaller element can balance out a larger one if the smaller one is farther from
the center and the larger one nearer. In two-dimensional art, the center of the
work serves as the fulcrum (the visual center). In three-dimensional art, visual
balance and the physical balance of mass both come into play, and the balance
of one does not assure the balance of the other.
See more.
Contrast.
The difference in quality between two instances of an art element, or
using opposing qualities next to each other. For example, black and
white (contrasting values), organic/curvy and geometric/angular
(contrasting lines/shapes/forms), and rough and smooth (contrasting
textures).
The greater the contrast, the more something will stand out and call attention
to itself. This applies to whole works of art as well as areas within an artwork.
Areas with greater contrast in value (stronger darks and lights) will tend to
appear more forward in space, as over distance atmospheric haze lessens
contrast (atmospheric perspective). Contrast can also be used to set the mood
or tone of the work. High contrast makes a work more vibrant, vigorous,
brash, lively - it "pops" more. Low-contrast work is more quiet, calm, subtle,
reflective, soothing.
See more.
Emphasis, Dominance and Focal Point.

Emphasis is created by visually reinforcing something we want the
viewer to pay attention to. Focal points are areas of interest the
viewer's eyes skip to. The strongest focal point with the greatest
visual weight is the dominant element of the work. Elements of secondary
importance could be termed sub-dominant, and elements with the least visual
weight subordinate. Isolation, leading lines and convergence, contrast,
anomaly, size, placement, framing, focus and depth of field, and absence of
focal points are some of the strategies used to help create these degrees of
importance.
See more.
Harmony and Unity.

Harmonious elements have a logical relationship or progression - in
some way they work together and complement each other. When a
jarring element is added - something that goes against the whole - it
is said to be dissonant, just like an off-note in a musical performance. Unity is
created by using harmonious similarity and repetition, continuance, proximity
and alignment, and closure of design elements in different parts of the work so
that the parts RELATE to each other and create a unified whole, that can be
greater than the sum of the parts, rather than an ill-fitting and meaningless
assortment of elements.
See more.
Movement.
Using art elements to direct a viewer's eye along a path through the
artwork, and/or to show movement, action and direction. Also,
giving some elements the ability to be moved or move on their own,
via internal or external power.
In a still picture such as a painting or photograph, where nothing is actually

moving, various strategies can be used to give the viewer a sense of movement
and speed, or to move the viewer's eye through the work. These include lines,
diagonals and unbalanced elements; blurring; placement; direction; and
motion lines and afterimages.
See more.
Repetition, Rhythm and Pattern.

Repeating art elements in regular or cyclical fashion to create
interest, movement, and/or harmony and unity. Rhythms can be
random, regular, alternating, flowing, and progressive. Classes of
pattern include mosaics, lattices, spirals, meanders, waves, symmetry and
fractals, among others.
See lots more.
Proportion and Scale.

Proportion is the relationship of sizes between different parts of a
work. For example, how wide it is compared to how tall it is. Some
proportions, such as the golden ratio and the rule of thirds, are
thought to be more naturally pleasing. Scale is the size of something compared
to the world in general - an artwork might be termed miniature, small scale,
full scale or life-size, large scale or larger than life, or monumental.
See more.
Variety and Variation.

Using a range of different qualities or instances of an art element to
create a desired visual effect - e.g., a variety of shapes, colors, etc.
Variety can add interest and break the monotony of simple
repetitions.
See more.
Line
Shape
Form
Space
Color
Value
Texture
Balance
Contrast
Emphasis, Dominance And Focal Point
Harmony And Unity
Movement
Proportion And Scale
Repetition, Rhythm and Pattern
Variety And Variation
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Tea Bowls And Traditions | flyeschool.com
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Tea Bowls And Traditions
(For those interested in different tea bowl shapes and feet, skip to the bottom.) Of Note
Though I am focusing on Japanese tea bowls and the Japanese tea ceremony to Art Elements &
start, they are thoroughly intertwined with Chinese and Korean ceramics and Design Principles
history. As I learn more, I will hopefully be able to provide more of interest Ceramic Artists Ceramics
about their works and traditions as well.
Japanese Tea Vocabulary Tea Bowls And Resources
This is a very basic list of ceramics and tea-related terms for starters. Traditions
Contact
抹茶, Matcha
Latest Reads
A high-quality green tea that is finely milled into a powder. The finest grade, 濃 Students
茶 (koicha) is used for making thick tea, while 薄茶 (usucha) is used for thin Daily Notes
tea. For more information visit Charaku Tea's pages on tea facts and Japanese Documents
tea varieties.
Grades
茶碗, Chawan
Gallery & Museum
A bowl for making and drinking matcha tea. To make the tea, hot water is
Visit
poured into the chawan to warm the bowl up. The water is then poured out
and the bowl dried. A small amount of matcha (less than a teaspoon) is sifted
into the bowl, and a few ounces of hot water are added. The tea is then stirred Now Playing Art
up until frothy with a bamboo whisk. Tea bowls for matcha have to be wide Ceramics
enough so that there is room for the whisk to move - usually around 4-6" (9- Asian
14cm) across at the rim. This is the type of tea bowl and tea used in the Ceramics &
Japanese tea ceremony. Chawan may also at times be used to refer to rice Tea
bowls. If you need to specify, tea bowls are 抹茶茶碗, matcha-jawan, and Tea Bowls
ricebowls are ご飯茶碗, gohan-jawan. And
Traditions
茶入, Chaire
Japanese
A tea caddy. A small ceramic container for koicha, a thick highest-quality Tea Bowl
matcha tea. Traditionally the lid is made of ivory with gold leaf covering the Feet
underside. Japanese
茶筅, Chasen Tea Bowl
Parts
A bamboo whisk used to stir matcha tea in the tea bowl.
Japanese
茶杓, Chashaku
Tea Bowl
A small scoop used to spoon matcha tea into the tea bowl. Usually made out of Shapes
bamboo, but may also be ivory or wood.
Ceramics
茶巾, Chakin
Artist Links
A small white hemp or linen cloth used to wipe the tea bowl clean. The Ceramics
lengthwise edges of the cloth are rolled into narrow hems on opposite faces of Links
the fabric and bound by a loose spiral stitch: a very nice detail. Ceramics
湯呑み, Yunomi Terms
Glossary
An tea cup with a cylindrical form, used for more ordinary teas that are
brewed rather than stirred in. Knowledge
Frequently
Japanese Tea Bowl Feet
Ignored
Japanese Tea Bowl Parts
Answers For
Japanese Tea Bowl Shapes Ceramics
‹ Asian Ceramics & Tea up Japanese Tea Bowl Feet › Comics

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and
Principles of
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Ceramics
If you reached this page by clicking on a photo in a page of search engine Of Note
results, what you are looking for is most likely on one of the ceramics artist links
Art Elements &
pages, or in the ceramics terms glossary - see below.
Design Principles
Asian Ceramics & Tea Ceramic Artists Ceramics

Ceramics Artist Links Photographers Photography
Ceramics Links
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Knowledge Contact
Frequently Ignored Answers For Ceramics

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Students
‹ Variety And Variation up Asian Ceramics & Tea ›
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Ceramics
Asian
Ceramics &
Tea
Ceramics
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Links
time well spent time to explore time flies Ceramics

Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
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Comics
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Recipes
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Asian Ceramics & Tea | flyeschool.com
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Asian Ceramics & Tea
This page started off as the dumping-ground for interesting things I came Of Note
across while into Japanese tea bowls. More as I have time.
Art Elements &
On This Site Design Principles
Tea Bowls And Traditions Ceramic Artists Ceramics

Japanese Tea Bowl Parts Photographers Photography
Japanese Tea Bowl Shapes Tea Bowls And Resources
Japanese Tea Bowl Feet Traditions
Contact
Teaware On The Edge Workshop And Exhibit
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Joan B Mirviss Ltd Tea Bowls

And
Lacoste Gallery
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Terms
Vessels Gallery
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Wa Sabi Dou Antiques and Folk Crafts
Knowledge
Yufuku Gallery Frequently
2000 Cranes Ignored
Rikyu Japanese Tea Mart Answers For

Ceramics
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Yuuki-Cha Japanese Tea
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Hibiki-an Japanese Green Tea
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Tales Of Japanese Tea
Information
What Is Wabi-Sabi?
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Minneapolis Institute Of Arts
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National Treasures Of Japan Online
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Tea Bowls And Traditions
‹ Ceramics up Tea Bowls And Traditions ›
Japanese Tea Bowl Feet | flyeschool.com
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Japanese Tea Bowl Feet
Japanese tea bowls have several different traditional foot, or kodai, designs. Of Note
Below are some of the styles and terms.
Art Elements &
For a printable version, click here. Design Principles

Traditions
Contact
Latest Reads
Students
Daily Notes
Documents
Grades
輪高台, Wa Kodai: Ring Foot 蛇ノ目高台 or 普通高台, Janome Gallery & Museum
or Futsuu Kodai: Snake’s Eye Foot Visit
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Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
二重高台, Niju Kodai: Double Foot 三日月高台, Mikazuki Kodai: Japanese
Crescent Moon Foot Tea Bowl

Parts
Japanese
Tea Bowl
Shapes
Ceramics
Artist Links
Ceramics
Links
Ceramics
Terms
Glossary
Knowledge
Frequently
撥高台, Bachi Kodai: Shamisen 竹節高台, Takenofushi Kodai:
Ignored
Plectrum Foot Bamboo Node Foot
Answers For
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桜高台, Sakura Kodai: Cherry 四角高台, Shiho Kodai: Four

Blossom Foot Directions Foot
碁石高台, Gokezoko-Kodai: Go 釘彫高台, Kugibori Kodai: Nail

Stone Box Foot Carved Foot
貝尻高台, Kaijiri Kodai: Spiral 渦巻高台, Uzumaki Kodai:

Shell Foot Whirlpool Foot
兜巾, Tokin kodai: Helmet Foot 縮緬高台, Chirimen Kodai:

Crinkled Cloth Foot
割高台, Wari Kodai: Split Foot 切高台, Kiri Kodai: Cut Foot
割一文字高台, Wariichimonji 釘彫高台, Kiriichimonji Kodai: Bar

Kodai: Two Split Foot Cut Foot
割十文字高台, Warijumonji Kodai: 切十文字高台, Kirijumonji Kodai:

Four Split Foot Cross Cut Foot
‹ Tea Bowls And Traditions up Japanese Tea Bowl Parts ›
Japanese Tea Bowl Parts | flyeschool.com
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Japanese Tea Bowl Parts
Of Note
Art Elements &

Design Principles

Traditions
Contact
Latest Reads
Students
Daily Notes
Documents
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Gallery & Museum

Visit
Tea Bowl Parts Now Playing Art
1. Mikomi: The view presented by the inside of the bowl. Ceramics

Asian
2. Kuchi Zukuri: The mouth opening or lip. Ceramics &
Tea
3. Chakin: A chakin is the cloth used to dry the tea bowl.
Tea Bowls
4. Chasen: A chasen is a bamboo whisk used to stir the tea. This is the area of And
the tea bowl where the chasen would rub against the sides. Traditions
Japanese
5. Chadamari, cha damari: The tea well. Where the last of the tea will pool. Tea Bowl
Feet
6. Chakin Zuri.
Japanese
7. Chasen Zuri Where the chasen whisk rubs. Tea Bowl
Parts
8. Kodai Waki: The division between the foot and body; the bottom of the tea Japanese
bowl's side. Tea Bowl
Shapes
9. Kodai Uchi: Inside the foot; the foot's center.
Ceramics
10. Kodai: The foot.
Artist Links
11. Koshi: The hip. Ceramics

Links
12. Do: The body. Ceramics
Terms
‹ Japanese Tea Bowl Feet up Japanese Tea Bowl Shapes ›
Glossary
Knowledge
Frequently
Ignored
Answers For
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Comics
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Komogai-nari: Komogai Shape Tea Bowls | flyeschool.com
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Komogai-nari: Komogai Shape Tea Bowls
Of Note
Art Elements &

Design Principles

Traditions
This shape originated in Korea. Those imported to Japan were said to have Contact
come from the Korean port of Komogai, hence the name.
Latest Reads
端反り型, Hatazori-gata (curving-lip type) may just be another more descriptive Students
name for this shape - at the moment I am unaware of any real differences in the Daily Notes
shapes themselves.
Documents
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Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Teabowl, known as Yamana, Yi dynasty, Korea Shapes
Komogai-
This photo is from the Miho Museum.
nari:
‹ Japanese Tea Bowl Shapes up 井戸型, Ido-gata: Ido or Well Komogai
Shape
Type Tea Bowls (抹茶茶碗) ›
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/komogai-nari-komogai-shape-tea-bowls[28.2.2019 18:28:36]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
about © 2011 robflye sitemap Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
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Links
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Terms
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Ignored
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井戸型, Ido-gata: Ido or Well Type Tea Bowls (抹茶茶碗) | flyeschool.com
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井戸型, Ido-gata: Ido or Well Type Tea Bowls (抹茶茶碗)
Of Note
Art Elements &

Design Principles

Traditions
The images below come from the Asian Art Museum of San Francisco and the Contact
Freer|Sackler Galleries. Click on an image to visit its original page for more
detailed information. Latest Reads
Students
Daily Notes
Documents
Grades
Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Ido Teabowl
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
Odo ware tea bowl with design of heron and reeds 茶碗)
半筒型,
Han
http://flyeschool.com/content/井戸型-ido-gata-ido-or-well-type-tea-bowls-抹茶茶碗[28.2.2019 18:28:52]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
Akashi ware gohon-style tea bowl with notched footrim 茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Rakuzan ware tea bowl in Kugibori Irabo style Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Tea bowl with design of fungus of immortality, unknown workshop Shape
Tea
Bowls
‹ Komogai-nari: Komogai Shape up 半筒型, Han tsutsu-gata: Half (抹茶
Tea Bowls Cylinder Shape Tea Bowls (抹茶茶碗)
茶碗) › 筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
Artist Links
Ceramics
Links
Ceramics
Terms
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Knowledge
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Ignored
Answers For
Ceramics
Comics
Photography
Recipes
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‹ Comics Links up Camera Simulator ›
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Ceramics
Comics
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Camera
Simulator
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Converters
Recipes
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Art › Tea Bowls And Resources

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School Contact Info
Email: Of Note
This is the best way to reach me. I usually respond by the evening of the same
Art Elements &
day. If you don't hear back from me in a day or two, I didn't get it for some
Design Principles
reason (or I'm on vacation! but will reply ASAP).
Send me a school-related email using your mail client.
Or, for those times when you want to say, "Flye, fix your website!" or "What the Tea Bowls And Resources
heck is up! I have found new excellent tunes for you!" - or whatever else: Traditions
Contact
Latest Reads
Students
Daily Notes
If you are a ceramics artist who's found a link to your site here, I think
Documents
you're pretty awesome. If you want me to use another photo, link to a different
site, or anything else, please let me know. If you or your buddies are among the Grades
millions of cool ceramics artists whose work or website I have yet to discover, Gallery & Museum
save me some work and let me know! Visit
Physical address:
Robert Flye Now Playing
Inglemoor High School

15500 Simonds Rd. NE
Kenmore, WA 98028
http://flyeschool.com/content/school-contact-info[28.2.2019 18:29:39]
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Daily Notes
This year I'm compiling all the notes for each class into the PDFs below that will Of Note
always have the most current notes on top. If I have my act together I'll post the
Art Elements &
notes for the whole week on Sunday/Monday, in which case you might have to
Design Principles
page back a little to get to what you're looking for.
Ceramics Daily Notes
Photo Daily Notes Traditions
Contact
Cartooning Daily Notes

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Visit
Now Playing
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Ceramics Documents Of Note
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Design Principles
Cartooning Documents
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Now Playing
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Design Principles

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Students
Daily Notes
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Grades
Gallery & Museum

Visit
Now Playing
StudentVUE student log in to view grades
ParentVUE parent/guardian log in to view grades

(If you're a parent/guardian and haven't visited school to set up your own
password, have your student log in for you.)
Gradebook Codes
Blank (Blank space; no effect on grade) - Has yet to be graded by the
teacher (in my class it more often also means the assignment is not yet due).
0 (Zero; score = 0) - The student earned a zero on the assignment.
AD (Academic Dishonesty; score = 0) - The student violated the Academic

Honesty policy for the assignment and therefore earned a zero score.
cr (Credit; no negative effect on grade) - The student passed the assignment

and received credit (rather than a zero).
dr (Drop; no effect on grade) - The score/test grade was thrown out.
http://flyeschool.com/content/grades[28.2.2019 18:30:15]
ex (Excused; no effect on grade) - The student missed the assignment, but is

not expected to make it up.
mi (Missing; score = 0 until made up) - The assignment was not received by
deadline, but can still be turned in for credit according to class policy.
NM (No Make Up; score = 0) - The student failed to turn in the assignment
by the deadline and the assignment cannot be made up.
Some notes on grades:
1. Grades are updated once every week or two, usually on Sunday nights.
2. I have no burning desire to drop everything and work harder to grade and
enter late assignments to make up for student procrastination. If your not
being grounded etc. depends on your grades, get things in on time. If you
didn't, it may take a couple days or a week for things to get updated.
3. For ceramics students: as ceramics projects take time to complete and go

through the process of multiple firings and evaluation, weeks may
sometimes pass with little apparent change in the progress report. Also,
around half the assignments are not due till the end of the semester, so
grades can change radically near the end – blank boxes are wild cards. Make
sure you/your student's work is on track.
4. At times I may miss updating a score that I have changed in my paper

gradebook, such as when work is resubmitted, or in some other way fail to
completely align online scores with student achievements. If you suspect an
inconsistency in your grades, please let me know so I can make corrections.
5. For more information about grades and grading, please refer to the
appropriate syllabus or evaluation sheet on the Documents page. If you have
more specific questions, please contact me.
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Gallery & Museum Visit
All Inglemoor art students are required to do some learning on their own in the Of Note
form of visiting both an art gallery and an art museum during the course of the
Art Elements &
semester. This is an indispensable part of an artist's quality education,
Design Principles
inspiration and life that cannot be replaced by surfing the web, browsing books,
etc. Ceramic Artists Ceramics
Notes:
This assignment counts for 10% of the total classwork. Failure to complete Traditions
Contact
the assignment will result in the drop of a full letter grade.
Latest Reads
Students have nearly the whole semester to complete the assignment. Unless Students
otherwise noted in the deadlines, visit forms will be accepted for full credit
Daily Notes
until the end of the Friday before the last week of class. Visit forms handed
in later than this will receive no credit, with no exceptions. Documents
Grades
Students should check the visit form or the list of suggested places to make
sure they go to places that will count. Gallery & Museum
Visit
In order to receive credit, students must respond thoughtfully to all
questions on the visit form.
Now Playing
Students need proof that they visited: a photo of themselves inside or in
front of the gallery/museum works best.
Students who go together on their gallery and museum visits must choose
different works of art to answer their questions on, and come up with their
own answers. Students who copy others' work or allow others to copy theirs
will receive no credit, and be subject to Inglemoor's academic honesty policy.
Tips:
The sooner you do it, the better off you are.
Galleries are free to visit - they make their money by selling art - but
museums usually require an entry fee. The exceptions around here are the
Frye Art Museum, which is always free; free entry on the first Thursday of
every month to the Seattle Art Museum and Seattle Asian Art Museum; and
free entry to the Bellevue Art Museum on the first Friday of every month.
Check the suggested places page for detailed information.
The art department tries to offer a gallery/museum field trip during the fall
and the IHS Artwalk during the spring as means to help fulfill this
assignment - stay tuned for details. Depending upon local offerings,
attending an art workshop might also be offered as a way to earn assignment
credit.
Visit the suggested places page.

Download the visit form.
http://flyeschool.com/content/gallery-museum-visit[28.2.2019 18:30:28]
Gallery & Museum Visit | flyeschool.com
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杉形, Sugi-nari: Cedar Shape Tea Bowls (抹茶茶碗) | flyeschool.com
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杉形, Sugi-nari: Cedar Shape Tea Bowls (抹茶茶碗)
Of Note
Art Elements &

Design Principles

Traditions
Contact
visit its original page for more information.
Latest Reads
Students
Daily Notes
Documents
Grades
Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Asahi ware tea bowl, sugi shape Tea Bowl
Parts
‹ 平形, Hiragata: Flat Shape Tea up 椀形, Wan-nari: Wooden Bowl
Japanese
Bowls (抹茶茶碗) Shape Tea Bowls (抹茶茶碗) ›
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/杉形-sugi-nari-cedar-shape-tea-bowls-抹茶茶碗[28.2.2019 18:30:43]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
about © 2011 robflye sitemap 杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
Artist Links
Ceramics
Links
Ceramics
Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
Ceramics
Comics
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Recipes
天目型, Tenmoku-gata: Tenmoku Type Tea Bowls (抹茶茶碗) | flyeschool.com
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天目型, Tenmoku-gata: Tenmoku Type Tea Bowls (抹茶

茶碗)
Of Note
Art Elements &

Design Principles

Traditions
Contact
The form is typically well-shaped with an indented finger-groove just beneath
the rim. The rims are sometimes covered with a band of metal, often silver. Latest Reads
Students
Since the temmoku hare's fur and oil spot glazes needed to be fired hot and
Daily Notes
cooled slowly, the glazes sometimes moved, collecting in thick and drippy lower
edges. Documents
Grades
The images below come from several museums. Click on an image to visit its
original page for more detailed information. Gallery & Museum
Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Mino or Seto ware temmoku tea bowl, Freer|Sackler Galleries
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/天目型-tenmoku-gata-tenmoku-type-tea-bowls-抹茶茶碗[28.2.2019 18:31:02]
tsutsu-
gata:
Half
Kyoto ware temmoku tea bowl, Freer|Sackler Galleries Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Satsuma ware temmoku style tea bowl, Ryumonji kilns, Freer|Sackler Galleries Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
Chinese Southern Song Dynasty Tea Bowl, 13th century, National Gallery of Art 茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
Jian-Ware Tea Bowl Fused to the Interior of a Saggar, Harvard Art Museums
(抹茶
Temmuko bowls, with their small feet, can tip, as this one did in it's protective 茶碗)
saggar when it was being fired. To prevent this tipping during use, they are 筒型,
placed on special stands to help hold them upright. Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
天目台, Tenmokudai: Tea Bowl Stand, Minneapolis Institute of Arts Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
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Links
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Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
Ceramics
Comics
Photography
Recipes
Large Tea Bowl with Indented Lip and Decoration of Plum Blossom and Three
Phoenixes in Flight, Chinese, 13th-14th century, Harvard Art Museums
‹ 呉記型, Goki-gata: Goki Type up 平形, Hiragata: Flat Shape Tea

Tea Bowls (抹茶茶碗) Bowls (抹茶茶碗) ›
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平形, Hiragata: Flat Shape Tea Bowls (抹茶茶碗)
Of Note
Art Elements &

Design Principles

This type of tea bowl is also referred to as a summer tea bowl, or natsu-jawan Traditions
Contact
(夏茶碗), as it is meant for summer use.
Latest Reads
The images below come from the Freer|Sackler Galleries. Click on an image to Students
Daily Notes
Documents
Grades
Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Kyoto ware tea bowl Tea Bowl

Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Akahada ware tea bowl in Totoya style Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/平形-hiragata-flat-shape-tea-bowls-抹茶茶碗[28.2.2019 18:31:19]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Tea bowl with mishima style decoration
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Mino ware tea bowl
Shape
‹ 天目型, Tenmoku-gata: up 杉形, Sugi-nari: Cedar Shape Tea

Bowls
Tenmoku Type Tea Bowls (抹茶 Tea Bowls (抹茶茶碗) ›
(抹茶
茶碗)
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
Artist Links
Ceramics
Links
Ceramics
Terms
Glossary
Knowledge
Frequently
Ignored
Answers For
Ceramics
Comics
Photography
Recipes
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Search
沓形, Kutsu-gata: Clog or Shoe Shape Tea Bowls (抹茶

茶碗)
Of Note
Art Elements &

Design Principles

Traditions
Contact
The wide mouths of these bowls make them appropriate for the summer season.
Latest Reads
The images below come from the Asian Art Museum of San Francisco and the Students
Metropolitan Museum of Art. Click on an image to visit its original page for Daily Notes
more detailed information.
Documents
Grades
Gallery & Museum

Visit
Now Playing Art

Ceramics
Asian
Ceramics &
Tea
Tea Bowls
And
Traditions
Japanese
Tea Bowl
Feet
Japanese
Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/沓形-kutsu-gata-clog-or-shoe-shape-tea-bowls-抹茶茶碗[28.2.2019 18:31:34]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Hikidashiguro (Kiln-pulled Black) Teabowl, by Tsujimura Shiro Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
Bowls
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
Kutsugata tea bowl by Tsujimura Shiro gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
Artist Links
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Links
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Glossary
Knowledge
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Ignored
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Ceramics
Comics
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Recipes
Clog-shaped tea bowl with design of plum blossoms and geometric patterns
‹ 椀形, Wan-nari: Wooden Bowl up 筆洗形, Hissen-gata: Brush

Shape Tea Bowls (抹茶茶碗) Washer Shape Tea Bowls (抹茶
茶碗) ›
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筆洗形, Hissen-gata: Brush Washer Shape Tea Bowls (抹

茶茶碗)
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visit its original page for more detailed information. Latest Reads
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Tea
Tea Bowls
And
Traditions
Japanese
Hagi ware tea bowl in shape of brush washer Tea Bowl
Feet
‹ 沓形, Kutsu-gata: Clog or Shoe up 筒型, Tsutsu-gata: Cylinder Type
Japanese
Shape Tea Bowls (抹茶茶碗) Tea Bowls (抹茶茶碗) › Tea Bowl
Parts
Japanese
Tea Bowl
Shapes
Komogai-
time well spent time to explore time flies nari:
Komogai
Shape
Tea
Bowls
井戸型,
Ido-
gata:
Ido or
Well
Type
Tea
Bowls
(抹茶
茶碗)
半筒型,
Han
http://flyeschool.com/content/筆洗形-hissen-gata-brush-washer-shape-tea-bowls-抹茶茶碗[28.2.2019 18:31:49]
tsutsu-
gata:
Half
Cylinder
Shape
Tea
Bowls
(抹茶
茶碗)
呉記型,
Goki-
gata:
Goki
Type
Tea
Bowls
(抹茶
茶碗)
天目型,
Tenmoku-
gata:
Tenmoku
Type
Tea
Bowls
(抹茶
茶碗)
平形,
Hiragata:
Flat
Shape
Tea
(抹茶
茶碗)
杉形,
Sugi-
nari:
Cedar
Shape
Tea
Bowls
(抹茶
茶碗)
椀形,
Wan-
nari:
Wooden
Bowl
Shape
Tea
Bowls
(抹茶
茶碗)
沓形,
Kutsu-
gata:
Clog or
Shoe
Shape
Tea
Bowls
(抹茶
茶碗)
筆洗形,
Hissen-
gata:
Brush
Washer
Shape
Tea
Bowls
(抹茶
茶碗)
筒型,
Tsutsu-
gata:
Cylinder
Type
Tea
Bowls
(抹茶
茶碗)
胴締,
Dojimari-
gata:
Waist
Type
Tea
Bowls
(抹茶
茶碗)
鉄鉢形,
Wa-
nari:
Circle
Shape
Tea
Bowls
(抹茶
茶碗)
Ceramics
Artist Links
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Links
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Knowledge
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Ignored
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Jack Troy | flyeschool.com
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Jack Troy
Photos from a workshop held May 11th and 12th, 2013 at Shoreline Community Of Note
College, followed by a three day wood firing, with the kiln unloading the next
Art Elements &
Saturday.
Design Principles
For more information on Jack's pottery, poetry and teaching, visit his website. Ceramic Artists Ceramics
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Finishing
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Loading & Firing
Unloading
Works
Most of the photos below are of previously fired works Jack brought to the
workshop; the last two photos are examples of what I and one of my former
students got out of the firing.
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Ceramics
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Resources
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Students
Philippa de Burlet Miguel Molet page 1

Esther Ann Smith Lourdes Riera Babos Pálma
page 2
page 3
page 4
page 5
page 6
page 7
page 8
page 9
page 10
page 11
William Depauw Mia Mulvey
page 12
Scott Schoenherr @ Naomi Schoenherr Adam Silverman
@ Full Moon page 13
Full Moon
page 14
page 15
page 16
page 17
page 18
page 19
page 20
page 21
page 22
Jeremy Ayer
Abby Berkson page 23
Patsy Cox Carol Green Mat Wedel page 24
page 25
page 26
page 27
page 28
page 29
page 30
page 31
page 32
page 33
Macy Dorf
Gina DeSantis Megan Hart

Nicole Bruno
Stepanka Horalkova
Jessica Harrison
Linda Lopez Josephine Burr
Susannah Zucker Virginia W. Jenkins
Reiko Miyagi
Adele Macy J.D. Perkin Robert Siegel Kathy Ruttenberg
Brett Kern
Kai Tsujimura Yui Tsujimura Jesse Albrecht Keith Renner
Dylan J. Beck Andrew Casto Karin Karinson Fiona Thompson

Nichola Theakston
Nilsson @ Mindy
Solomon
Julie Woodrow Connie Pike Naomi Clement Zimra Beiner Jenny Southam
Helena Starcevic
Scott Parady Maria Nordgren Catherine Lee Anna Collette Hunt
Ulfert Hillers
Katharina Bertzbach
Sigrid Grote Claudia Craemer Margret Ewert
Wolf Ewert Sabine Kratzer Gundula Sommerer Mathew McConnell Adam Shiverdecker
Paul Donnelly
Ben Jackel Deborah Sigel Daniela Yaniv-
Wangling Chou
Richter
Jenny Orchard Stephen Bird Penny Byrne - @ Klaus Gutowski Lisa Wilks
facebook
Shlomit Bauman Paula Winokur Amanda Bromfield Matsui Kosei Ono Hakuko
Shinobu Kawase Judith Rosenthal

Ono Jiro Wada Akira Takegoshi Jun
Tony Natsoulas Gilbert Hernandez
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July 2018
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Ceramics Artist Links
Over 3200 ceramics artists and still growing. Click on an image to visit the Of Note
artist's site or further info. All images copyright their respective owners.
Art Elements &
Ceramic Artists Page 1 Design Principles
Ceramic Artists Page 2 Ceramic Artists Ceramics

Ceramic Artists Page 3 Photographers Photography
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Contact
Ceramic Artists Page 7 Latest Reads
Students
Ceramic Artists Page 9 Daily Notes
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Ceramic Artists Page 11 Grades
Gallery & Museum
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Now Playing
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Tea Bowls (抹茶茶碗)
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Ceramics Links
High School Competitions/Exhibitions Of Note

The National K-12 Ceramics Exhibition
Art Elements &
The Scholastic Art and Writing Awards Design Principles
Feats of Clay
A Few Blogs Among Many
Musings About Mud - Carole Epp
Vitrified Studio: Inspire
Traditions
Jesse Lu Contact
La Barbotina Latest Reads

Students
Jim Gottuso
D. Michael Coffee Daily Notes
Craig Bird Documents
Ceramic Vision Grades
Kansas City Art Institute Ceramics Gallery & Museum

Via U Photography Blog Visit
Jennifer Mecca
Josie Goes To Pot Now Playing Art
Dan Finnegan Ceramics

Asian
Sister Creek Pottery
Ceramics &
Hatchville Pottery
Tea
Ceramica Artista Ceramics
Melt My Heart Artist Links
A Devonshire Potter Ceramics

Links
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Ceramics
See the ceramic artist links.
Terms
Forums Glossary
Clayart discussions by subject Knowledge
Galleries Frequently
AKAR Ignored
Answers For
Ariel Craft Gallery
Ceramics
Bijyutsu
Comics
Bircham Gallery
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Blue Spiral 1 Recipes
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The Clay & Glass
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Gallery Kurimoto
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The Grand Hand
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Joan B Mirviss Ltd
Kontrapunkte
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TRAX Gallery
Tuti No Kioku
Vessels Gallery
Wa Sabi Dou Antiques and Folk Crafts
Yufuku Gallery
Glazes
Ian Currie - Understanding Glazes
Frog Pond Pottery - with glaze stability test results.
Carolina Clay
James Q. Jacobs
Ken George
Lawrence Ewing's Matrix Glaze Calculation Course
Glaze Mixer
History & Cultures
Making History - ! So cool.
Ceramic History for Potters
Art History Links - an amazing resource.
Saxon Pottery
Asian Ceramics & Tea
How Pueblo Pottery is Made
Institutions, Organizations, Shows, Collections
Access Ceramics
American Museum of Ceramic Art
Anderson Ranch
Archie Bray Foundation
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Australian Ceramics
Craft In America
Haystack Mountain School of Craft
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Penland School of Crafts
Pottery Northwest
The Rosenfield Collection
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Strictly Functional Pottery National
Studiopottery.co.uk
Washington Clay Arts Association
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The British Museum
Harvard Art Museums
The Metropolitan Museum of Art
Minneapolis Institute Of Arts
Museum Of Fine Arts Boston
The National Gallery Of Art, Washington DC
The Smithsonian Institution
Victoria And Albert Museum
More may be found on the Asian Ceramics & Tea page.
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Burnt Earth Ceramic Musical Instruments
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Green Verdugo Ocarina Links
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Portals, Links & Information
Big Ceramics Store How-To's
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Publications
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Studio Potter
Suppliers
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Laguna Clay Co.
Paragon Industries
Peter Pugger Mfg.
Plainsman Clays
Seattle Pottery Supply
Sheffield Pottery, Inc
Shimpo
Skutt
Tacoma Clay Art Center
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Videos
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Ceramics Terms Glossary | flyeschool.com
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Ceramics Terms Glossary
(Begun largely using The Complete Guide to High-Fire Glazes: Glazing & Firing Of Note
at Cone 10 (A Lark Ceramics Book) by John Britt, and Clay and Glazes for the
Art Elements &
Potter by Daniel Rhodes and Robin Hopper. Any errors are mine; if you see
Design Principles
something inaccurate, please let me know.)
At the moment some entries are linked to pages with larger pictures and
perhaps more info; hopefully this number will grow over time. Eventually I'll
create a separate glossary for all those fun ceramics materials. Tea Bowls And Resources
Traditions
Contact
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Latest Reads
Absorption. Students
A measure of how much water a clay body can absorb after it has Daily Notes
been fired into ceramic, giving an indication of how porous or
Documents
vitrified the material is.
Grades
Gallery & Museum
Aesthetic. Visit
A philosophy, belief or idea of what is beautiful or pleasing. Your

personal aesthetic is your taste - in art, in music, in food, in dress, Now Playing Art
etc. Aesthetics vary from culture to culture, generation to Ceramics
generation, and person to person, among other things. Asian
Ceramics &
Tea
Agateware. Ceramics
Artist Links
Pottery made with colored clays swirled together in a marble-like
Ceramics
pattern, or covered with colored slips that are swirled together to
Links
achieve a similar effect. Read more.
Ceramics
Terms
Glossary
Albany slip. Agateware
A chocolate brown slip made of natural clays originally found in the Banding
area around Albany, New York, but later produced throughout the Wheel
Mid-west. When high-fired, it turned into a hard glossy glaze, which Bat,
was used in American pottery from the early 19th century until production Throwing
stopped in 1986. Substitutes include Alberta slip and other commercial blends Bat
of clays and fluxes. Bisqueware,
Biscuit
Ware
Blistering
Alberta slip.
Blow Up
Similar to Albany slip, an iron-fluxed clay that can be fired to low
Boat
temperatures or used as a glossy brown glaze starting around cone
Anchor
6.
Calipers
Carbon
Coring,
Alkaline. Black
Basic, having a high pH, as opposed to acidic. Many fluxes used in Coring
pottery are alkaline in nature. Carbon
Trap
Chuck,
Chum
http://flyeschool.com/content/ceramics-terms-glossary[28.2.2019 18:33:45]
Alkaline earths.
Coil
Magnesium, calcium, strontium and barium act as fluxes in high fire
Colorants
glazes. They help develop hard glaze surfaces that often have a matt
Crazing
finish.
Downdraft
Kiln
EPK, Edgar
Alumina.
Plastic
Al2 O3. A very hard, heat-resistant material. Kaolin
Electric
Kiln
Extrusion,
Amorphous. Extruder
Materials such as glass and glazes, which have no long-term Fettle,
repeating crystalline structure. Fettling
Knife
Force Dry
Anagama. Greenware
Kaolinite
Traditional Japanese kiln (anagama means "cave kiln"), also known
Kilnsitter
as a climbing kiln, shaped like an upward-sloping tunnel, with a
stoking area where wood is burned at the bottom end and a flue and Overglaze
chimney at the top end. Pinholing

Plucking
Pug Mill
Pyrometric
Armature.
Cones
A skeleton of wood or wire used to give internal support when
Raku
creating a sculpture of clay or wax.
Rib
Sgraffito
Shelf Of
Atmosphere. Shame
The atmospheric environment in the kiln; either oxidation, neutral, Slab Roller
or reduction (smoky). The atmosphere in the kiln can affect how the Slip
colors of glazes and clays turn out, among other things. Test Tile
In kilns that burn fuel such as wood or natural gas, there needs to be at least Knowledge
some oxygen in order for the fuel to combust. If there is just enough oxygen to Frequently
combust all the fuel, the atmosphere is neutral. If there is more oxygen than is Ignored
needed to burn all the fuel, the kiln is said to be in oxidation, and the excess Answers For
oxygen is free to chemically combine with clay and glazes. If there is not Ceramics
enough oxygen in the kiln to combust all the fuel, the atmosphere in the kiln Comics
becomes smoky and the kiln is said to be in reduction. In this case the fuel
Photography
may strip oxygen away from glaze or clay materials, and carbon from the
Recipes
smoke may combine with the clay and glazes instead.
Electric kilns, heated by electric elements rather than fuel, usually have
oxidation or neutral atmospheres. Electric kilns can have a reduction
atmosphere, typically during a bisque firing when organic material in the clay
burns out along with other combustibles, such as newspaper left in sculptural
pieces, and the kiln's spy holes are plugged up, preventing smoke from
escaping.
As an example of how kiln atmosphere affects glaze color, a copper red glaze
may turn blood red in reduction but pale green in oxidation. Since the
atmosphere in a fuel kiln can be very localized - one area may be smoky while
another is less so - a pot glazed all in copper red might be red on one side and
green on the other after being fired.
Ball clay.
A very fine, plastic secondary clay with a high shrinkage rate, not
suited for use by itself. Added to other clays to make them more
plastic and workable. In glazes it works as a suspending agent.
Ball mill.
A container loaded with high-fired porcelain slugs or other
mechanical grinding materials that is rotated by some means, into
which clay or glaze materials may be put in order to be ground finer.
Banding wheel.
A simple turntable rotated by hand, onto which work may be set
and spun around in order to apply decorative bands or work the
piece evenly. On many banding wheels, including very heavy cast-
iron ones, the head is not attached to the base, and if the banding wheel is
picked up by the head, the base will fall off and hit the floor - or your toes -
with a embarrassing crash. Don't say I didn't tell you. Read more.
Bat, throwing bat.

A slab of plaster or fired clay used for drying out clay or as a
platform for work in clay.
Throwing bats are disks of wood, plaster or plastic that are held on the wheel
head by a pair of pins or suction. Work thrown on bats can quickly be removed
from the wheel by lifting off the bat, without damaging the work, allowing the
potter to work on multiple objects in rapid succession. Read more.
Bentonite.
A very fine clay, usually formed from the weathering of volcanic ash.
It is characterized by high plasticity and swelling properties, and
used to suspend glazes or make clay bodies plastic.
Bisqueware, biscuit ware.

Fired unglazed pottery; ceramic ware that is durable yet porous.
Read more.
Bisque-firing, biscuit firing.

The first kiln firing, before the glaze firing. During this firing the
chemical water and organic material in the clay are burned off; the
clay sinters, and the pot is transformed from clay into more durable
ceramic.
Black coring.
See carbon coring.
Blistering.
A glaze defect in which materials in the clay or glaze are still
volatilizing and producing bubbles in the glaze at the end of the
firing, where they are frozen in place as the kiln cools. The bubbles
often break, leaving sharp-edged craters.
Bloating.
Blistering of the clay body, caused by trapped gases. Associated with
not burning off all the organic material during bisque firing, and
with carbon/black coring.
BLOW UP.
What your clay project will do if it is too thick, fired too wet, or has
unvented hollow areas.
If the clay is too thick it takes much longer for the center to dry out
thoroughly. If the clay has moisture in it when fired, the moisture will turn to
steam and expand, and if the steam cannot escape from the piece fast enough
it will blow the piece up. Unvented air pockets in the clay can cause similar
problems. Read more.
Boat anchor.
A piece that's far heavier than it needs to be. Most often, a piece
made on the wheel by centering a mound of clay, making a hole in
it, then letting it dry out and not trimming it and calling it a bowl or
cup. I tend to call them ugly and unfinished and food for the slop bucket, and
not fire them.
Body reduction.
During a glaze firing, a period of reduction atmosphere induced
between cone 012 and cone 08 in order to bring out the warm color
and speckles of any iron in the clay body. Frequently done when
high firing stoneware.
Bone ash, calcium phosphate.

The ashes of calcined bones, usually cattle bones; high in calcium
and phosphorous oxides.
Bone china.
English soft porcelain made with calcined bones (bone ash) as a
flux. Despite the name, bone china is actually stronger and less
prone to chipping than hard paste porcelain.
Bone dry.
Completely dried out unfired clay. Bone dry clay is typically lighter
in color than clay that is still moist. Objects in this state are brittle
and fragile, and should not be handled more than necessary.
Once a clay project is bone dry, nothing else can be joined to it or done to it
safely except some careful scratching or polishing, and it is very difficult to re-
wet it into a workable state. To safely re-wet it, you need to wet the piece
evenly, let it absorb the moisture, then repeat the process (again and again)
depending on how thick the clay is. If you soak bone dry clay in a bucket of
water to try and re-wet it, the clay will quickly dissolve like the Wicked Witch
of the West. If a piece gets bone dry before it is finished, it is usually dead, and
easier to start the project over than try and save it.
Moral: don't let your pieces get drier than you need them to be.
In a school or community studio, one of the greatest dangers to work is people

picking up others' (or even their own) dry work to look at it or show off, and
breaking it in the process. Do not handle others' unfired work unless you are
loading it into a kiln, or you have their permission. And don't, don't try to pull
your (or even worse, someone else's) unfired masterpiece out of a half-loaded
kiln to show someone.
B.T.U., British thermal unit.

The amount of heat required to raise one pound of water 1°
Fahrenheit.
Burnish.
To smooth and polish the surface of an object (in ceramics, usually
an unfired pot) by rubbing it with a smooth object such as a river
rock or the back of a spoon. With this procedure a high shine can be
developed without the use of glaze. Burnished objects are fired to a lower
temperature (around cone 010) than many other objects, as the surface shine
is reduced or lost if fired to higher temperatures.
Calcine.
To fire to red heat; removes chemical water.
Calipers.
A pincher-like measuring device in which two pins or arms are
snugged up against the edges of the part to be measured. Read
more.
Calorie.
Metric unit of heat: amount needed to raise one gram of water one
degree Centigrade. When you read a candybar wrapper they are
talking about kilocalories. Even so, it would take a lot of candybars
to fire a kiln.
Carbon coring, black coring.

A gray or black layer under the surface of a fired clay piece. Carbon
or black coring is undesirable, as it makes the piece weaker, can
discolor glazes, and is associated with bloating. Read more.
Carbon trap.
Carbon trapped under the surface of a glaze or clay body, giving it a
black or gray appearance. Caused by putting the kiln in reduction
and creating a smoky atmosphere before the clay or glaze surface
seals up. Certain glazes, such as carbon-trap shinos, make use of this to
achieve a desired look. Read more.
Carbonate.
A substance produced when carbon dioxide combines with an oxide.
Chamotte.
The European name for grog.
Chattering.
When a trimming tool jumps or skips rhythmically over the surface
of a pot that is being turned on the wheel, leaving a rippled texture
instead of a smooth clean cut. Usually caused by the pot being either
too wet or too hard, or by a dull tool. Sometimes used purposefully as a
decorative technique.
China clay, kaolin.

Al2O3 • 2SiO2 • 2H2O (alumina+silica+chemically combined
water). A pure, primary clay, composed mostly of the clay mineral
kaolinite, with very little iron or other contaminants. Characteristics
include low plasticity, a very refractory nature, the ability to be fired to high
temperatures, and a pure white color when fired. A primary component of
porcelain bodies.
Chuck, or chum.
A support used to hold leather-hard pots for trimming on the wheel.
Chucks or chums may be leather hard clay or bisque fired. If the
chuck is leather hard, the piece to be trimmed will stick in place
more, and the chuck will not damage the piece. If bisque-fired, a soft coil of
clay may be wadded onto the chuck to help pieces stick and prevent the hard
bisque material from gouging into them. Read more.
Clamshell kiln.
A box-shaped updraft kiln commonly used in American raku, made
of two halves that are hinged at the bottom and may be quickly
opened and closed like a clamshell.
Clay body.
A combination of clays and other materials that yields a clay with
the working characteristics desired. Clay bodies are formulated to
have different colors, firing temperatures, degrees of plasticity,
resistances to thermal shock, and other properties. There are no set names for
clay bodies beyond the broad categories of earthenware, stoneware and
porcelain; clay manufacturers give their own brand names to the specific
products they offer.
Cleanup karma.
Not thoroughly cleaning up after yourself can lead to bad cleanup
karma, where you will be cursed to clean up 1000x more later in life
for each little thing you neglect now.
The funny thing is, you think I’m kidding.
CMC.
Carboxymethylcellulose, a glaze binder and suspending agent. If you
get a leaking bag of dry CMC powder and try to wipe it up with a
damp sponge, you're in for some gooey fun.
Coil.
To make clay objects by building with ropes or coils of clay. Coiling
is simple to learn, allows for building very even and also very
organic forms, and has no limitations as far as how large things can
be made. Read more.
Colorants.
Oxides and carbonates added to the base glaze recipe to give color;
includes oxides of copper, cobalt, chrome, and others. Read more.
Cone, pyrometric cone.

Small triangular cones of ceramic material, designed to melt after
absorbing specific amounts of heat. Used to determine how a kiln
firing is progressing and when it should be ended. Cones are
designated by numbers according to how much heat work it takes to melt
them, and so these cones and their numbers form a scale used to measure the
heat work that takes place in a kiln. Numbers on the cone scale are associated
with the peak temperatures reached if the kiln temperature is raised at a
certain rate. Relying on pyrometer readings to fire a kiln to a temperature
listed as the equivalent of a certain cone is not as reliable as using cones to
measure the heat work. As many kilns do not heat perfectly evenly (especially
fuel kilns), a lot can be learned about how a kiln fires by placing cones at
various places in the kiln and, after the kiln has fired, seeing how the heat
work varies from place to place. Read more.
Cone pack.
A series of pyrometric cones, set into a wad of clay, for the purpose
of monitoring the kiln's heat work. Usually at least one cone pack is
placed near a spy hole in the kiln so it may be observed during
firing. Read more.
Contraction.
A reversible physical contraction of a material during cooling; also
called thermal contraction.
Crawling.
When a glaze pulls away from areas of the pot during firing, leaving
areas of bare clay body. Caused by getting dirt, dust or grease on the
pot before glazing, or by a reaction between glazes.
Crazing.
Cracks in the glaze surface caused by a glaze that contracts more
than the clay body. The cracks may be emphasized for decorative
effect by rubbing ink or some other stain into them (do not do this
to the inside of a food vessel. Just after firing the web of cracks will be larger
and more open; as the piece continues to cool more cracks will form, creating a
finer mesh. You can hear the pieces "ting", "ping" and "tzing" as they cool and
the glaze cracks.
Cristobalite.
Crystalline form of silica that has a high expansion and contraction
rate, making ware susceptible to thermal shock. Forms above 2200
degrees F; crystal growth is encouraged by ware remaining at this
temperature due to slow heating or cooling, heat soaking, or repeat firing, and
also by clays or glazes having an excess of free silica. Quick heating or cooling
of high-cristobalite clay bodies at approximately 500 degrees F can cause
dunting.
Cross section.
A view of something cut along a plane. In pottery, it can be useful to
visualize a pot cut in half to understand the relationship between
the inside and outside of a form, and the wall thickness in between.
In general, the wall thickness of a well-made piece will be even and nuanced,
and proportional to the size and function of the pot. A beginning pot will often
be thicker on the bottom sides and/or bottom, and thicker in general than it
needs to be. Cross-sectional views are useful when designing new or
complicated structures.
Damp box.
A cabinet or container that can be sealed vapor-tight so that
unfinished clay projects will not dry out. If people remember to keep
it closed.
Damper.
A device for adjusting or for closing the opening from the kiln to the
chimney.
Decant.
To remove the water that has collected at the top when a material
settles in a liquid.
Deflocculant.
A base (soluble alkali) that is added to a glaze slurry, causing the
particles to repel one another. This can keep particles in suspension
for a time and makes it possible to use less water to achieve the
same fluidity. Has the effect of thinning out the glaze slurry, but over time can
cause glaze to settle into a rock-hard layer at the bottom of the bucket.
Deflocculate.
To disperse the particles in a slip so that less water is required for
fluidity.
Downdraft kiln.
A kiln that vents its exhaust through a flue set at floor level (to the
interior of the kiln) that feeds into a chimney. The chimney is
required to help create the convection currents necessary to draw
out the waste gases. Since heat and gases from the burners enter in from the
bottom of the kiln, rise through it and then must be drawn down to exit, the
heat flow through the kiln is more even and efficient than that in an updraft
kiln. Downdraft kilns are also preferable for reduction firing. Read more.
Density.
The weight of a material in comparison to water; also known as
specific gravity (sp gr) or relative density.
Dry foot.
The foot of a pot which has been cleared of glaze.
Dunting.
Cracking of the clay body often caused by rapid or uneven changes
in temperature in a piece; can occur during cooling (cooling dunts,
which are more common) or heating (heating dunts). The stresses
that cause dunting happen around 439 degrees F and 1063 degrees F. At these
points, silica (quartz) goes through a phase change and rapidly expands or
contracts; if the whole piece is not at the same temperature and some parts are
expanding/contracting more rapidly than others, dunting cracks can occur.
Pieces that have been overfired and/or overfluxed, making them less resistant
to thermal shock, are more likely to dunt. If you pull your masterpiece too hot
out of the glaze kiln to ooh and ah over, you may hear it go "ping ting ping
PING! ting ting POP!" - and then you will probably find some dunting cracks
and be very sad you were in such a hurry.
Dunting can also be caused by extreme glaze compression, when the glaze
wants to shrink more than the clay body and is stronger than the clay.
Dunting cracks are identifiable because the ware is warped, and the cracked
edges will not fit exactly back together. Cooling dunts will have sharp glaze
edges; with heating dunts, the glaze will have a chance to melt and smooth at
the crack edges.
Earthenware.
Pottery or other objects made from clay fired below cone 03; the
ware is porous and permeable. Earthenware may be glazed or
unglazed, and is usually but not always buff, red, or brown in color.
Characterized by its low firing temperature, porous nature, and usual iron
content. The commonest naturally found clay.
Effervesce.
To give off gas, as in the form of bubbles rising in liquid.
Electric kiln.
A kiln that is heated by coiled wire heating elements rather than
combustion. Read more.
Electrolyte.
An agent which causes deflocculation. A substance in solution,
conducting electricity.
Engobe, underglaze.
A slip-like material with a lower clay content than a pure liquid clay
slip, applied to ware to change the color of the body. Engobes and
commercial underglazes are formulated to have a low drying
shrinkage, so they may be applied to bone dry and/or bisque fired pieces. They
may be used with or without a clear glaze over the top.
EPK, Edgar Plastic Kaolin.

A pure white kaolin mined in Edgar, Florida, where Charles Edgar
found and began mining the deposit around 1888. EPK is a
secondary kaolin that was transported from its parent rock source in
the Carolina mountains in the age before cellphones. Since it is a secondary
clay, its particle size is smaller than that of primary kaolins, making it more
plastic (but still not particularly plastic).
Expansion.
The reversible physical expansion of a particle material as it's
heated; expressed as a coefficient of expansion/contraction; also
called thermal expansion. See also contraction.
Extrusion, extruder.
The process of making shapes by forcing clay through dies.
Extruders commonly consist of a wall-mounted tube that dies can
be attached to, and some sort of plunger to force the clay through -
like a big cookie-dough gun or pastry bag (which can be used for smaller
work.) A pain to clean. Some modern pug mills can also be fitted with dies to
extrude shapes.
Eutectic.
A mixture of two or more materials that, when combined in a
certain proportion, will melt at the lowest possible temperature.
Faience.
Glazed earthenware. Originally, the tin-glazed earthenware made at
Faenza, Italy.
Fat clay.
Highly plastic clay.
Feldspar.
A white or pale mineral (the white or pale part of granite) made up
of alumina and silica, in combination with potassium, sodium,
calcium, and/or lithium (those containing lithium are not true
feldspars, but are similar in use for potters). When feldspars undergo chemical
weathering over geologic spans of time they are broken down and changed into
the clay mineral, kaolinite.
Fettle, fettling knife.

To finish or smooth the surface of leather hard clay. To trim off the
spare material around the seams of cast or jiggered pieces. The short
single-edged knife commonly used to do this.
Filler, tempering materials, temper.

A material of little or no plasticity added to clay in order to promote
drying, control shrinkage, open up the clay body, increase resistance
to thermal shock, and provide physical structure in throwing and
wet-working in clay bodies or engobes. Typical fillers include sand, grog, and
volcanic ash.
Fire clay.
A high-firing refractory clay used to make bricks for furnaces, kiln
shelves and props and is often used in clay bodies. A secondary clay,
it has few fluxes, course particle size, and is commonly buff-colored
with low shrinkage and plasticity.
Fire color.
The color of a clay body caused by the action of the kiln atmosphere
or direct flame impingement. See also flashing.
Fit.
A match of the properties of a clay body to a glaze, or vice versa. A
glaze that has an expansion and contraction rate similar to the clay
body is said to fit the body, and will not craze or shiver. A dried
glaze coat that cracks off greenware (before the firing) does not fit because the
glaze and clay body shrinkage rates are different.
Flashing.
Coloration caused by volatile materials present during firing.
Flocculant.
An acidic thickening agent added to the glaze slurry which causes
the particles to stay in suspension but can cause cracking of the
dried glaze layer. The agent causes the particles to attract to one
another; they're said to "flock" together.
Flux.
An oxide (generally alkaline) which causes ceramic fusion when

combined with other oxides and heated. A substance that causes or
promotes melting, that helps lower the melting point of a glaze.
Force dry.
Using a heat gun, torch or other method to heat and dry soft clay in
order to quickly stiffen it to a desired workability. When throwing
or coiling pieces, the softness of the clay may not be able to support
continued shaping or the addition of more material; a wait period may be
necessary to let the work air dry until it has firmed up, or the potter may
attempt to force-dry the piece somewhat in order to continue working. Force-
drying clay can cause stresses in it that lead to cracking, and should be done
sparingly, evenly and with care. Read more.
Frit.
A precise mixture of ceramic oxides which are melted together into
a glassy state, quickly cooled in water, then finely ground; used in
glaze recipes as generally insoluble sources of oxides. Since the
colorants in frits have already been fired to their maturation temperature, the
color of raw underglazes or other products made with them closely matches
the what the final color will look like. Frits are costly to produce, however, and
products made with them, such as underglazes and lowfire glazes, can be more
expensive.
Fuse.
To melt together.
Glass-former.
An acidic oxide that retains its amorphous structure when cooled to
a solid state rather than re-forming into a crystalline structure.
Silica is the primary glass-former in ceramics, followed by boron
and phosphorus oxides.
Glaze.
A glass layer or coating that fuses to a clay/ceramic piece during
firing. Glazes are mixed up of various minerals, oxides and other
additives into a slurry that is applied to bisqueware or greenware in
a number of ways. All glazes must contain a glass-forming component (usually
silica), a fluxing component to help the glaze melt at a certain temperature,
and a stiffener (usually alumina) to help keep the glaze from running off the
pot. Glazes may also contain colorants to give them color, and opacifiers to
make them opaque.
Glaze base.
The glaze recipe without any colorants, opacifiers, or suspenders.
Glaze fault or flaw.
An unwanted feature in the glaze, such as pinholing, crawling, or

crazing.
Granite.
An igneous rock composed of feldspar, quartz and mica. Granite
makes up the majority of the earth's continental crust and is the
parent rock of most clays.
Greenware.
Unfired pottery. Read more.
Grog.
Clay which has been fired/calcined and then ground into granules of
more or less fineness. Often added to clay bodies along with sand to
reduce shrinkage, create a more open material that dries better and
is more resistant to heat shock, and make the clay more suitable for building
large pieces.
Hakeme.
A Korean and Japanese technique of applying thickened slip with a
course brush to a piece of greenware; the slip retains its texture
after firing.
Hare's fur.
A streaked brown slip glaze. Also known as temmoku (Japanese).
Heat work.
The temperature that a ceramic piece has been heated to, coupled
with the time it has to absorb that heat. Measured using pyrometric
cones.
High fire.
Pertaining to a kiln firing range of cone 8 and above.
Hydrometer.
A device for quickly measuring slip density, or specific gravity; less
accurate than weighing.
Igneous.
Formed by cooling from a molten state.
Inlay.
Also known as mishima. Technique of filling a carved design on the
surface of a piece with colored slip, then scraping away the excess
after the slip has stiffened.
Ironing.
Metallic patches on a glaze surface, caused by saturation of cobalt
oxide.
Jiggering.
Forming a pot between a revolving mold which shapes the inside
and a template which shapes the outside and foot.
Jollying.
Forming a pot between a revolving mold which shapes the outside
and a template which shapes the inside.
Kaolin.
A pure, primary clay, or a secondary clay like EPK that has
undergone some movement but remains minimally contaminated by
iron or other impurities, that is composed mostly of the clay mineral
kaolinite. Characteristics include low plasticity, a very refractory nature, the
ability to be fired to high temperatures, and a pure white color when fired. A
primary component of porcelain bodies. Also known as china clay. The name
kaolin comes to us from the writings of a French Jesuit priest, Francois Xavier
d'Entrecolles, who in the early 1700's studied the Chinese methods of
porcelain production in a village in the Jiangxi province in China, Kao-ling or
Gaolin.
Kaolinite. Al2O3 • 2SiO2 • 2H2O or Al2Si2O5(OH)4

(alumina+silica+chemically combined water).
The pure clay mineral. Kaolinite crystals take on the form of
microscopic (from ≈ .2 microns to 50 microns), flat, roughly
hexagonal plates that agglomerate into the similarly shaped particles of clay
dust that are large enough to see. The small size and flat shape of the clay
particles are what give moist clay its plastic nature. For a magic trick (and an
explanation), read more.
Kilnsitter.
A device for controlling the length of firing of an electric kiln, and
for automatically shutting off the kiln once the desired heatwork has
been done. Read more.
Kiln wash.
A refractory mixture, usually kaolin or flint, which is painted on kiln
shelves and saggars to prevent glaze from adhering. The flaky white
substance sometimes stuck to the bottom of your pot.
Leather-hard, cheese-hard.
Clay dried sufficiently to be stiff and no longer plastic, but still
damp enough to be joined to other pieces with slip. Color has not
yet begun to lighten due to drying.
Local atmosphere.
Atmosphere in one area of a kiln. In a downdraft kiln, for example,
the top of the kiln may be in more of a smoky reduction atmosphere
than some lower portions. The type of kiln, how the shelves and
ware are stacked within it, and how it is fired all can create variations in
atmosphere from place to place within the kiln.
Low fire.
Pertaining to a kiln firing range from cone 010 to cone 04.
Luting, slipping and scoring, scoring and slipping.

Joining leather-hard clay using slip. The surfaces to be joined
together are scored (scratched up) with a sharp tool in order for the
slip to create a stronger bond between the pieces. Read more on
joining clay.
Macrocrystalline.
Large crystals formed on the surface of a glaze by slow cooling.
Mature.
Fired to a tight, hard, serviceable structure.
Medium fire.
Pertaining to a kiln firing range from cone 03 to cone 6.
Metakaolin.
Clay that has been fired and become ceramic material; cannot revert
to clay.
Microcrystalline.
Very small crystals on the surface of a glaze formed by slow cooling.
Mishima.
A Korean and Japanese pottery style using inlaid slip decoration.
The technique of filling a carved design on the surface of a leather
hard piece with a contrasting colored slip or clay, then scraping
away the excess after the slip has stiffened. For more information see "The
Mystery and the Mastery" by Robert Yellin.
Muffle.
The inner lining of a kiln that protects the ware from the direct
impingement of the flame.
Neutral atmosphere.
The atmosphere in a kiln that is said to have a perfect balance of
oxygen and fuel for complete combustion.
Non-plastic.
A material such as stiff leather-hard clay that cannot be bent or
molded without rupturing.
Opacifier.
A material that makes the glaze non-transparent or opaque, such as
titanium dioxide, tin oxide, or zirconium silicate.
Open.
To make clay more open or porous in structure by adding fillers or
grog. Also, when throwing on the potter's wheel, the act of creating
a depression in the middle of a centered piece of clay and then
pulling outward to make the depression wider and "open up" the clay.
Open firing.
Firing in which the flames may come in contact with the ware.
Oribe.
A style of Japanese pottery, named after Furuda Oribe; refers to
modern-day, transparent, copper-green glazes.
Overglaze.
An accent colorant used in brushwork and small areas, applied over
an already glazed piece. In some cases, the glazed piece has already
been fired, and the piece is refired to a lower temperature (cone 016
or lower) to bond the overglaze on. These underglazes are well suited for exact
silk-screen, stencil and decal applications, but may be less permanent and
durable due to the low temperature bond. In other cases, overglazes are
applied to glazed but unfired work, then typically high-fired. These overglazes
become integral with the glaze, and decorations may bleed and flow with the
glaze during firing.
Oxidation.
A chemical reaction caused by heat in which oxygen atoms combine
with other molecules or atoms.
Oxidation atmosphere.
The state of the atmosphere in a kiln in which there is more oxygen
present than needed to burn the fuel.
Oxide.
A substance made when an element combines with oxygen.
Oxygen probe.
A device placed in the kiln during firing to provide an indication of
atmospheric conditions of oxygen, neutral, and reduction
atmospheres.
Pinholing.
Small bubbles in a fired glaze coat, caused by gasses released from
the clay body or the glaze itself toward the end of the firing, when
the molten glaze cools before it has a chance to smooth over.
Plastic, plasticity.
The characteristic of clay that can be formed without rupture or
cracking, and be able to retain that form.
Plucking.
From the foot of a piece, the pulling away of slivers of material that
have stuck to the kiln shelf during glaze firing, due to the the clay
body (usually porcelain) becoming vitreous/sticky at the maturing
temperature. Seriously annoying. There are various strategies to prevent this,
discussed in this clayart thread.
Porcelain.
Pottery or other objects made from a white, vitrified, and
translucent clay body. When tapped, it makes a pinging or ringing
sound. Originally developed in China, hard paste porcelain is a
combination of kaolin, quartz or some other form of silica, and feldspar; it may
also contain some ball clay or other ingredients to enhance its workability or
other properties.
Soft-past porcelain began as a European attempt to copy Chinese porcelain,

using clay mixed with ground-up glass or frit. This type of porcelain tended to
slump and warp more in the kiln, and was not as hard. Later compositions
using kaolin and feldspathic materials improved the quality and are still in use.
Bone china began in England in the mid/late 18th century, when calcined ox
bones began to be added to porcelain. Josiah Spode is attributed with
perfecting bone china sometime between 1789-93, using 6 parts bone ash, 4
parts Cornwall Stone or china stone, an iron-free feldspathic rock, and 3.5
parts kaolin. Bone china fires to a lower temperature than hard paste
porcelain, but is whiter, more translucent, stronger and less prone to chipping.
Press mold.
A shallow open mold of plaster or other material that clay is pressed
into to take the mold's shape.
Primary clay, residual clay.

Al2O3 ∙ 2SiO2 ∙ 2H2O (alumina+silica+chemically combined water).
Clays found at the place of the parent rock, that have not been
transported by water or weather action and are therefor
uncontaminated by other materials. Because of their coarse particle size,
primary clays have low plasticity and are difficult to work with unless mixed
with other clays. Kaolins are primary clays.
Pug mill.
A mean, unclean, man-eating machine for mixing, compressing and
extruding clay, useful for recycling scrap clay and destroying
anything else mistakenly fed into it, which you will then find chips
of in your clay exactly when and where you don't want them. Make sure not to
mix up and recycle your tools with your clay. Or your hands, or arms, etc.
Modern pug mills have small openings to feed the clay into, in an attempt to
prevent careless and tragic accidents. I have an old-school monster with a big,
beautiful, wide-open toothy maw that will swallow anything, including
bucketfulls of clay; it's like having my very own pet great white shark. I love it.
But I don't let the students feed it. At all. Read more.
Pyrometer.
A gauge for measuring temperature in a kiln.
Quartz inversion.
Approximately 1 percent expansion or contraction of quartz at 1063
degrees F. If heating or cooling occurs too fast at this point, it can
cause cracking of the ware, called dunting.
Raku.
In Western terms, raku is a process in which pieces are rapidly
heated to 1800 degrees F, then pulled red-hot from the kiln and
placed into a container of combustible material, such as newspaper,
wood chips or straw, to create a reduction atmosphere for the glaze and to
blacken any unglazed areas with carbon.
The term raku originated in Japan as a family name given to a potter, Chojiro,
in honor for his making tea bowls that fit the ideal of the wabi style of tea
ceremony proposed by the tea master Sen Rikyu. Chojiro (and his family,
which continue today) hand-made the bowls, and removed them hot from the
kiln to either quench in water or allow to cool in the open air.
Rate of firing.
How fast a kiln is heating.
Reduction.
Chemical reaction in which oxygen is removed from oxide
molecules. May occur in either a glaze or a clay body.
Reduction atmosphere.
Atmosphere in a kiln where there is a deficiency in the oxygen
necessary for complete combustion of the fuel. Which means, it's
smoky in the kiln.
Reduction cooling.
Controlled cooling of a fuel kiln in a reduction atmosphere; the fuel
is kept on in order to burn the excess oxygen in the kiln until the
glazes are set.
Refractory.
The quality of being resistant to heat, or a material that is heat
resistant.
Resist.
Wax, tape, or any substance used to prevent glaze from adhering to
certain areas of a piece during glazing.
Respirator.
A breathing device used to prevent the inhalation of harmful
materials. Can be fitted with hazard-specific canisters to filter
various fumes and/or dusts.
Rib, potters' rib.

A tool of wood, metal or other material that has a curved edge
similar to a rib's in shape. Used to help shape and smooth pieces
during throwing or building with clay. Read more.
S-crack.
An s-shaped crack that can occur in the bottom of wheel-thrown
vessels if the clay at the bottom is not as compressed as the rest of
the piece, or if water is let to sit in the bottom too long when
throwing.
Saggar.
A refractory container designed to protect ware from ash and
flames, or to create local atmosphere for ware by adding
combustibles and fuming agents in with the ware; also called a
bung.
Salt glaze.
Glazing by the vapors from salt in the kiln. When the kiln is at 2350
degrees F or above, at the end of a firing, salt is added into the kiln,
where it volatilizes. Sodium vapors from the salt combine with
alumina oxide and silica oxide on the surface of the unglazed ceramic ware,
acting as a flux and forming a glaze coat that has a characteristic orange peel
texture. The chlorine from the salt meanwhile combines with hydrogen to form
a dilute acid gas that deteriorates the kiln (at the very least). Soda glazing,
where sodium carbonate or sodium bicarbonate are used instead of salt, is a
recent alternative the produces similar results without the lovely hydrochloric
acid gas aftertaste.
Saturation.
The point at which no more material will dissolve in molten glaze;
instead, it will remain suspended in the liquid.
Secondary clays, deposited clays, sedimentary clays.

Clays that have been transported away from their parent rock by
water and weather action. As water flows away from the parent
material, heavy/coarse clay particles are left behind to remain
primary clay, while finer particles are carries away. If the water that is carrying
this clay slows down, the larger/heavier particles of it may settle out while the
finer particles go farther downstream; in this manner clay deposits of similar
particle size are formed. As the clay is carried away, it is also mixed with clays
from other sources, impurities such as iron, and organic material.
Sgraffito.
A decorative process which employs a scratched line through a clay
slip to expose the contrasting color of the clay body beneath. Read
more.
Shelf of shame.
That special place where pieces go when they're not quite ready to
be fired in the kiln they were set to go into. The usual reasons are
there is glaze on or too near the bottom of the piece, the glaze is on
too thick or thin, it was placed to go in the wrong kiln, or (for greenware) there
was no name on it, or it was unfinished/poorly made/an ashtray or something
equally special and artistic that is better placed in the slop bucket. Read more.
Shivering.
A glaze that contracts less than the clay body, causing the glaze to
fall or pop off in sheets that can be razor-sharp. Throw the piece
away.
Short.
Clay that is non-plastic and poor in working properties.
Shrinkage.
Reduction in size of a clay body as it undergoes drying or firing.
Depending on the clay body and how it's fired, a piece might shrink
anywhere from four to fourteen percent in size. Moist clay has
physical water between the clay particles: as the clay dries, the clay particles
get closer together, causing the initial shrinkage. As the clay is fired to
maturity, it sinters and vitrifies (depending upon how high its fired), becoming
denser and shrinking even more.
Siccative.
A medium which promotes the drying of oils used in underglaze or
overglaze colors.
Sieving.
To remove impurities or large particles by putting a glaze through a
metal sieve. Various mesh sizes are available.
Silica.
The primary glass-former in glazes; synonymous with flint, quartz,
and silicon dioxide.
Silicosis.
A disease of the lungs caused by the inhalation of silica dust. Clay
dust is one of the worst enemies of a potter - any little smear of slip
or scrap of clay will dry and turn to fine dust, that can hang
suspended in the air for days after it is brushed, beaten, blown or swept up.
The best way to fight it is to clean up any mess while it's still wet, and to
sponge, mop, or rinse away any dry clay. Make sure to rinse sponges and mops
clean before and during use, otherwise you're just smearing the dust around,
not removing it. (Can you tell I work in a high school classroom? Can you?)
It's better to clean the table and floor with a sponge than clean the air with
your lungs.
Sinter.
Particles that hold together through partial melting or mutual
adhesion; the surface does not vitrify.
Slab roller.
A table with a canvas-covered top and a roller that can travel across
it; used for flattening clay into sheets of even thickness. Read more.
Slake.
Putting dry clay into water in order to rehydrate it, breaking down
dried chunks of clay with minimal effort. Dry glaze materials can
also be slaked through water.
Slip.
A liquid mixture of clay and varying amounts of water. Slip has
many meanings: the clay and the water at the bottom of a throwing
tray; a thickened clay and water mixture, like cream, to connect
pieces of clay; an even more thickened mixture, like a creamy yogurt, that can
be applied for texture (Hakeme). When colored, a mixture used for colored slip
decorations; or deflocculated, a mixture used in slip casting. Can be a thin
mixture of clay and water applied to a pot to cause flashing in salt, soda, and
wood firings, called flashing slip.
The easiest way to make slip is to take bone-dry clay, break it into small
chunks and slake it in water - it will quickly dissolve.
Slip cast.
Slip is poured into a hollow plaster mold and let sit for a few
minutes, allowing the plaster to suck moisture from the clay
touching it and form a skin. The excess slip is then poured out and
the mold opened, revealing the left-behind shell of clay.
Slump mold.
A form that clay slabs or coils are draped over or pressed onto and
then let become leather hard, thereby stiffening into the mold's
shape.
Slurry.
A mixture of plastic clay and water. The ingredients of a glaze recipe
mixed with water in the glaze bucket. Also called slop.
Soaking.
Holding the kiln at a desired temperature for a time to achieve
certain effects. Water-soaking or candling is the process of letting
the kiln run with one element on low, or just the pilot lights on,
often overnight, in order to make sure all the ware inside is bone dry, thus
reducing the risk of pieces blowing up.
Solubility.
The ability of a material to go into solution.
Specific gravity (sp gr).

For potters, a number that represents how much heavier a material
is compared to water; used as a reference point for mixing glaze
slurries or slips; also referred to as density or relative density.
Sprig.
A relief decoration added to a clay surface. Sprigs are usually thin

slabs formed in a mold.
Spurs.
Triangular refractory supports that hold glazed ware up and away
from contact with the kiln shelves or saggars.
Stabilizer.
An atmospheric oxide that, when combined in proper proportion to
a glass-former and a flux, keeps the glaze from running down the
pot.
Stable.
Refers to a glaze that does not exhibit glaze faults such as running or
crawling; can also indicate glazes that don't leach toxic components.
Stack.
To load a kiln with pottery in preparation for firing.
Stain.
Coloring pigment; can be a commercially prepared coloring stain in
which oxides have been fritted together and ground. May also refer
to an oxide with a flux added (more accurately called a wash).
Stall.
Condition where a kiln's temperature stops rising during firing. A
cause of woe, hand-wringing, swearing and long nights.
Stoneware.
Pottery or other objects made from fired clay which is dense and
vitrified. Stoneware is fired to temperatures above 2192 degrees F. It
may be dark or light in color, but is not translucent. Characterized
by high firing temperature, density, non-porous nature, opacity, and usually at
least a small amount of iron.
Striking.
A firing process in which, after a fuel has reached peak temperature
and is cooling, it's turned on again between 1300-1800 degrees F
and adjusted to a reduction atmosphere for a period of time. A glaze
fired in this way is said to have been struck.
Stringing.
A surface pattern in a glaze high in calcium oxide, characterized by
thicker lines of glaze that are similar to an aerial view of a river
tributary system; also called rivulets.
Temmoku, Temnoku.
The name temmoku comes from Tien-mu-Shan, "Mountain of the
Eye of Heaven," a mountain in Chechiang province, China. It was
from a monastery on this mountain that Dogen, A Japanese Zen
priest, was said to have brought the first temmoku bowl to Japan in 1228.
Usually a shiny black or dark brown glaze colored by iron oxide.
Terracotta, terra cotta.

(Italian: "baked earth") is a porous red-brownish-orange
earthenware commonly used to make garden pots. Unglazed terra
cotta pots (or pots made out of any porous earthenware) left out in
a climate where freezing temperatures are reached are subject to cracking and
decomposition, caused by the expansion of water as it freezes within the
ceramic.
Test tile.
A piece of clay used to test how a glaze or clay will look after it's
fired. Read more.
Throw.
To make pottery by hand on a potter's wheel. Or to get rid of ugly
stuff by tossing it in the air, pitching it in the dumpster, etc.
Tin enamel.
A lead glaze opacified by tin.
Tooth.
Roughness in a clay; course grain structure caused by larger particle
sizes and/or the addition of sand or grog.
Top hat kiln.

A barrel-shaped updraft kiln commonly used in American raku. The
kiln body is essentially an insulated can with a hole on the top that
can be raised and lowered in a frame by pulling on a
counterweighted cable.
Toxicity.
The degree to which a material is considered to be poisonous.
Trimming, or turning.
The process of taking a leather-hard piece thrown on the wheel and
returning it to the wheel (usually upside-down) to remove excess
material and weight, to give the piece an even wall-thickness and
make the inside match the outside, and to finish the bottom. Some potters
hate doing it, some potters will sneer and call you a dishonest son-of-a-banana
if you trim anything more than the bottom of a piece, and some potters trim
pieces top to bottom and inside to boot. Part of the throwing process; if you
want to be good at the wheel, master the skill so you can use it as desired.
Trimming through the bottom of your pot.

What you will do if you don't check how thick the bottom of your
pot is before you start trimming, or if you continue trimming
without re-checking from time to time. A cause of infinite woe and
sadness amongst beginners who refuse to learn to now and then check how
much they have trimmed.
Underglaze, engobe.
A colored slip meant to be applied under a clear (or no) glaze.
Underglazes are formulated to have low drying shrinkage so they
may be used on greenware and/or bisqueware. Meant mostly for
lowfire use, but can be high fired with varying results. Modern underglazes are
made with colored frits, so the wet color is close to the fired color, and colors
may be mixed like paints.
Unity Molecular Formula.

A theoretical method of looking at the oxides that make up a glaze
on a molecular level. The UMF divides oxides into three categories
(flux, stabilizer, and glass-former) in order to express their
relationships to each other.
Updraft kiln.
A kiln in which the waste gases are vented through a hole in the top.
Updraft kilns do not have a chimney, and do not heat as evenly as
downdraft kilns. Most American raku kilns, that are rapidly fired to
relatively low temperatures with small loads, are updraft kilns.
Venturi burner.
A gas burner that employs the Venturi Principle to mix gas and air.
Pressurized gas forced through a constricted pipe eliminates the
need for a burner fan and electricity.
Viscosity.
The stiffness of a liquid or glaze; resistance to flowing.
Vitreous.
A glassy, non-porous state, much like the eyes and minds of many
students at 7:10am.
Vitreous slip.
A clay slip with sufficient flux to become almost vitreous; a mixture
that is halfway between a clay slip and a glaze.
Vitrify.
To fire to the point of glassification; to turn or melt into glass.
Volatile.
Describes materials that vaporize (change from a liquid to a gaseous
state) during firing.
Volatilization point.
The point or temperature that a material changes from a liquid to a
gaseous state.
Volatilize.
The process of converting from a liquid to a gas.
Wash.
A mixture of oxide or stain and water that is applied to a piece of
ceramic or a glaze coat in order to color it; sometimes includes an
oxide or stain and a flux to help fuse it to the clay body or glaze.
Wedge.
To knead or mix plastic clay by cutting or rolling. The purpose of
wedging is to mix the clay to an even consistency, to work out any
trapped air bubbles, and perhaps to firm wet clay up, if it is wedged
on a porous surface such as wood. Wedging the clay you work with is
particularly important if you are throwing on the wheel, and a skill that should
be developed just as much as centering or pulling up. Two types of wedging are
rams-head wedging and spiral wedging.
Witness cone.
A large pyrometric cone that is visible through the spy hole of a kiln
during firing; used to determine when firing is complete. Read
more.
Wood ash.
Ashes produced from burning wood. You have to burn a LOT of
wood to get a little ash. If you want to make ash glazes, make
friends with someone who produces wood ash as a byproduct of
their industrial process.
Working edge.
Any edge on a piece of functional pottery, such as the foot of a pot

or the rim of a lid, that comes into frequent contact with other
things. Working edges should be smooth and rounded, and not too
thin, otherwise they may be prone to chipping, breaking, and being
uncomfortable. If you don't want your work to scream "beginning potter!", pay
attention to your working edges. It's the details that'll make your work shine.
Worm tracks.
A visible disturbance in the surface of the glaze; can be caused by
under-firing high-feldspathic glazes or by heavy reduction periods
that lower the kiln temperature and temporarily freeze the glaze
surface.
Agateware
Banding Wheel
Bat, Throwing Bat
Bisqueware, Biscuit Ware
Blistering
Blow Up
Boat Anchor
Calipers
Carbon Coring, Black Coring
Carbon Trap
Chuck, Chum
Coil
Colorants
Crazing
Downdraft Kiln
EPK, Edgar Plastic Kaolin
Electric Kiln
Extrusion, Extruder
Fettle, Fettling Knife
Force Dry
Greenware
Kaolinite
Kilnsitter
Overglaze
Pinholing
Plucking
Pug Mill
Pyrometric Cones
Raku
Rib
Sgraffito
Shelf Of Shame
Slab Roller
Slip
Test Tile
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Q: I'm done with everything so I have nothing to do (except Of Note

chat, text, other classes' homework, etc.) Why are you
Art Elements &
looking at me like you want to light my butt on fire?
Design Principles
FIA: Completing one attempt at a project does not mean you're done; it means
that it's time to try something again or something else so you can continue to Ceramic Artists Ceramics
get better. Your time in the studio is your only chance to work, and I'm only Photographers Photography
interested in the last best outcome of your using every single minute available.
Eighty percent of your grade is based on how much you use studio TIME to
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work purposefully with clay. Contact
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Q: What's going on? What do I have to do? Wait, you never
told us that. I'm so confused. Daily Notes
FIA: Pull your head out of your phone, pay attention when I'm talking, take Documents
notes, read the clear written instructions I've given you, and follow directions. Grades
You will make your life much easier.
Gallery & Museum
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Q: We have to do two visits, one to a gallery and one to a
museum? Now Playing Art
FIA: As I've said a million times, and as it says on the syllabus and on the visit Ceramics
form, for this assignment you must visit BOTH a fine art gallery AND a fine art Asian
museum - TWO separate places. If you are still confused, I suggest reading up Ceramics &
on the words 'both' and 'and' (uh-oh . . ). Tea
Ceramics
Artist Links
Q: My piece disappeared! I can't find it! Where did it go?
Ceramics
FIA: (Where did you put it last? Did you even look there?) If your piece was
Links
greenware and you no longer see it on the greenware cart, it is loaded in one of
Ceramics
the electric kilns and waiting to be fired, or being fired; OR it's on the shelf of
Terms
shame because it had no name on it, was a boat anchor, or was in some other
Glossary
way unfinished or flawed and not ready to be fired; OR, it's been fired and has
Knowledge
been sitting on the front counter right in front of your face. If it was waiting to
Frequently
be glaze fired, it is either a). right where you left it, b). loaded in the kiln and
Ignored
about to be fired, or firing, c). on the shelf o' shame, or d). right in front of you,
Answers For
though you were sure yours wasn't quite that ugly color - see, there's your name
Ceramics
on the bottom.
Comics
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Q: When will my piece get fired? I've been waiting Recipes
FOOOOREEEEEVERRRRR!
FIA: When there is enough work to fill the kiln it will be fired in. A full kiln
heats better and wastes less energy. When will there be enough work? When
YOU make enough work to fill up the kiln - get busy. Bisque/low-fire kilns
usually fill up every couple weeks at the start of the semester, and sometimes a
couple times a week as things get going. Cone 10 firings are less frequent, with
often a month or so between. If you want your pieces promptly, don't miss the
kiln loading deadlines.
Q: What glaze is this on my piece?

FIA: Write down the glazes you use as soon as you're done glazing, otherwise
you'll forget, or be unsure when the color doesn't turn out as you expect.
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Q: Why did the glaze turn out so hideous?

FIA: Make sure to thoroughly stir up the glazes before applying them, and make
sure the glaze coat on your piece is not too thin, splotchy or otherwise uneven:
this is the most common reason. A well-stirred glaze will have an even creamy
consistency in the bucket from top to bottom, and not have sludge at the
bottom. Not spending a couple minutes to make sure your glazes are stirred up
is a good way to ruin weeks of work.
Q: When are you going to bring cookies again? Will you give
me the recipe?
FIA: When I feel like it and have time. Hint: when I don't have to deal with
problems in class, when everyone is working and cool things are being made,
when I'm not stuck with cleaning up after everyone, then I'm much more likely
to spread the joy. If you want cookies, help your class be an awesome creative
*learning* place.
To date I am only giving out the recipe if you come back after attending a four
year college and show me the bachelor's degree you've earned. For a little more
immediate gratification, you can either take more art classes - mwahaha - or do
a little experimenting like I did. Either way you'll have fun and learn more.
Q: Can I eat off of what I make? Are the glazes safe?

A: If the piece was glazed with an appropriate liner glaze and fired to cone 10 it
is perfectly suited for food use. Pieces appropriately glazed and fired to cone 06
are also food safe, but less durable. Raku fired pieces are not for food use.
Q: Can I put the cup/bowl/plate that I made in the

dishwasher?
A: If it was fired to cone 10 using food-safe glazes, it should be safe to go in the
dishwasher. However, dishwashing detergent is very aggressive, and can wear
the glazes and colors over time. For hand-made one-of-a-kind pieces that you
enjoy, why not enjoy them a little more and wash them by hand?
For pieces fired to cone 06, I recommend hand washing.
Q: Can I put the cup/bowl/plate that I made in the

microwave or oven?
A: All pieces should be considered experimental in nature, both in the making
and the firing, and there are no guarantees that things will not suddenly go to
pieces on you. However, if it is white stoneware or porcelain, you should be
pretty safe in the microwave. Do not use pieces in the oven for baking.
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I ride my bike to school and back every day: only 7.5 miles each way, but uphill
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Japanese Tea Bowl Shapes

Ceramic Artists Ceramics

鉄鉢形, Wa-nari: Circle Shape 椀形, Wan-nari: Wooden Bowl Grades

Now Playing Art

端反り型, Hatazori-gata: Curving 平形, Hiragata: Flat Shape 茶碗)

Lip Type 平形,

砂浜形, Suhama-gata: Shoreline 桃形, Momo-gata: Peach Shape

筆洗形, Hissen-gata: Brush 編笠, Amikasa: Amikasa Straw Hat

Komogai-nari: Komogai Shape Tea Bowls 茶碗)

井戸型, Ido-gata: Ido or Well Type Tea Bowls (抹茶茶碗) 筒型,

杉形, Sugi-nari: Cedar Shape Tea Bowls (抹茶茶碗) Bowls

about © 2011 robflye sitemap

鉄鉢形, Wa-nari: Circle Shape Tea Bowls (抹茶茶碗)

Art Elements &

Ceramic Artists Ceramics

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Now Playing Art

‹ 胴締, Dojimari-gata: Waist up Ceramics Artist Links › 茶碗)

Type Tea Bowls (抹茶茶碗) 平形,

椀形, Wan-nari: Wooden Bowl Shape Tea Bowls (抹茶

Art Elements &

Ceramic Artists Ceramics

Gallery & Museum

Now Playing Art

Arita ware tea bowl Tea Bowl

Tea Bowls (抹茶茶碗) Shape Tea Bowls (抹茶茶碗) ›

about © 2011 robflye sitemap

呉記型, Goki-gata: Goki Type Tea Bowls (抹茶茶碗)

Art Elements &

Ceramic Artists Ceramics

Gallery & Museum

Now Playing Art

Tea bowl, possibly Hagi ware, 18th century Hiragata:

Ohi ware tea bowl with design of pine trees

‹ 半筒型, Han tsutsu-gata: Half up 天目型, Tenmoku-gata:

time well spent time to explore time flies

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半筒型, Han tsutsu-gata: Half Cylinder Shape Tea Bowls

Art Elements &

Ceramic Artists Ceramics

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筒型, Tsutsu-gata: Cylinder Type Tea Bowls (抹茶茶碗)

Art Elements &

Ceramic Artists Ceramics

Gallery & Museum

Now Playing Art

胴締, Dojimari-gata: Waist Type Tea Bowls (抹茶茶碗)

Art Elements &

Ceramic Artists Ceramics

Gallery & Museum

Now Playing Art

Elements of Art/Design and Principles of

A continuous mark made on a surface by a moving point; it may be Daily Notes

flat (pencil line) or three-dimensional (a rod, groove, ridge, etc.) Documents

viewer's eye. Lines can be categorized as horizontal, vertical, diagonal, curved,

Hue – The name of the color (red, green, etc.)

Intensity or Saturation – The purity (brightness or dullness) of the

Value or Brightness – The lightness or darkness of a color. How much

Low Key and High Key

The Principles of Design and Organization: