ceramics semester 1

line

a path created by a point moving in space

horizontal line

gives a sense of space

diagonal line

conveys emotion

vertical line

conveys height

curved line

conveys energy

shape

2D object defined by line

organic shape

occurs in nature (curves and flows)

geometric shape

shapes found in math (square, triangle)

color

light reflecting off objects or surfaces

intensity

purity of strength of a color

value

degree of lightness or darkness in a color. the relation of light and shade in a composition

form

any 3D object

geometric form

human-made

natural form

organic (made by nature)

positive space

the spaces that are occupied by the main subject/objects of the composition

negative space

the areas around or behind the positive space/objects

2D texture

a visual sense of how an object would feel in real life if touched

3D texture

the surface quality of an object that we sense through touch

balance

the distribution of the visual weight of objects, colors, textures, and/or space

symmetrical balance

mirror images. objects that are equal or similar on both sides. conveys a sense of stability

asymmetrical balance

different visual images on either side of a composition, and yet the image still conveys balance

contrast

the arrangements of opposite elements (light vs dark colors, rough vs smooth textures, large vs small shapes) in a composition to create visual interest, excitement, and drama

movement

the path the viewer’s eyes take through the artwork

emphasis

the part of the design that catches the viewer’s attention

framing

surrounding the main subject with other objects in the composition

implied line

invisible line created by subjects gazing at the main subject

directional line

physical lines leading to the main subject

size relation

creates a focal point by using a difference in sizes (ex: one big object surrounded by small objects and/or proportion changes)

rhythm

two or more elements of design arre used repeatedly to create a feeling of organized movement

pattern

the repeating of an object or symbol all over the composition

unity

the feeling of harmony between all parts of the composition which creates a sense of completeness

earthenware

low-fire clay that is porous after firing, ex: red flowerpots

stoneware

low to high fire. strong and nonporous. ex: everyday dishes

porcelain

white, hard, nonabsorbent clay that was developed in China

clay body

a mixture of various clays and other earthly materials combined to meet the specific needs of the potter

plasticity

the quality of clay that allows it to be formed and to retain the form until dry. the amount of water at any given time in the clay

porosity

this property allows clay to dry without cracking and warping after construction

vitrification

the process of becoming glasslike. the last step in the firing process

slip

watered down clay

plastic

soft and workable, can be joined to other pieces

leatherhard

drier than workable, somewhat stiff, can be reused if water is added

bone dry

chalky looking and very fragile, can be reclaimed

greenware

clay that has not yet been fired and can be referred to as plastic, leatherhard, or bone dry

bisqueware

has been fired once in the kiln, porous, cannot be reclaimed

glazeware

has been fired for a second time after glaze was added, fired at a higher temp, vitrification has taken place

firing

the process of adding heat to clay in a kiln

ceramics

burnt earth

pinch construction

clay is pinched with the fingers, simplest form of construction, oldest form

slab construction

uses flat thin strips of clay, made with a slab roller, throwing pin, and by throwing clay towards you

coil construction

ropes of clay are wound on top of each other to build up the walls of a clay piece. may remain visible or smoothed out

wedging

kneading the clay to remove air bubbles to make the clay soft and pliable

belly

fattest part of the vessel

shoulder

transition between belly and neck

body

largest part of the vessel encompassing the belly and shoulders

foot

located under body, a platform to elevate and stabilize the vessel

neck

narrowest upper portion of a vessel

lip

the rim of the vessel

mouth

opening at the top of the vessel

maturity

clay body has been fired to the highest temp in order to develop the desirable characteristics of maximum hardness

dry foot

action of removing glaze from the bottom of your piece

bisque

fired ceramics piece before firing in the kiln so it doesn’t adhere to the kiln

crawling

the process of clay left unglazed due to too heavy glaze application, able to see the bisqueware spots

short

clay is lacking in plasticity, needs water

compression cracks

caused by stress on the clay, walls dry out faster than the base and the alignment of clay particles

shrinkage

clay becoming smaller due to evaporation

raku

firing/type of ware. porous groggy ware with or without a glaze, put into and pulled out of a hot fire

reduction

oxygen is prevented from interacting with glazes during glaze maturation