Resume' 2009

Welcome! I hope you enjoy. I have been back in the studio for 6 months, after a 12 year hiatus, and have enjoyed being back, playing in the mud.

A Glaze recipe for Emerald Green

I just made a batch of this emerald green glaze and am going to test it this weekend. you can view the results on my fan page.

Emerald - Cone 5/6

Gerstley Borate - 49
EPK (kaolin) - 19
Flint (silica) - 32

Chrome oxide - 2
Cobalt Oxide - 1

Bentonite 2%

This glaze has to be applied much thicker
than you would expect a glaze to go on.
Almost like a thin yogourt. The mug in the illustration was fired to cone 5.
As you get hotter the green becomes more uniform and "greener" much like the area on the edges of the handle

Who is 30kellys

Who is 30kellys?

Born and raised in Central Alberta, Kelly Moen had the ability to experience life on the move. Due to the nature of Kelly’s Dad's work he moved around every couple of years. This enabled him to make valuable friendships, cultivate relationships and opportunity to find and understand, which most people these days are still searching for; namely Ourselves.

Today, Kelly is happily married to his high school love with two wonderful boys. He is working in the telecommunications sector by day, and in the evenings he cultivates his life experiences into the potter’s wheel in his studio. He believes in being true to oneself and family first. On the weekends his family joins him in the studio crafting their own, which has soon become 30kellys studio - Claywork at A Stones Throw.

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Pottery Vocabulary

Some people can get lost in your conversation about trimming and tooling Bisque or Biscuit. Here is a list I found to help you have a better comprehension.

Bat - Any slab used as a base for throwing or hand-building clay: also applies to a trough used to dry slurry clay to the plastic state: usually made of plaster, press board, plywood, or other porous material.

Bisque, Biscuit – Unglazed, but fired ware, usually accomplished in a low temperature firing prior to a glaze fire; also applies to unglazed ware fired high, as in porcelain bisque.

Body – A combination of natural clays and non-plastics, especially formulated to have certain workability and firing characteristics.

Burnishing – Polishing with a smooth stone or tool on leather-hard clay or slip to make a surface sheen; the surface will not stay shiny at temperatures above 2000 F (1100 C)

Casting – Process of forming shapes by pouring deflocculated liquid clay slip into plaster molds for repetitive production.

Centering – Pushing a mass of clay toward the center with the centrifugal motion of a potter’s wheel.

Ceramics – Art and science of forming objects from earth materials containing or combined with silica, produced with the aid of heat treatment at 1300 F (700 C) or more.

Clay- Earth materials formed by the decomposition of igneous rock; when combined with water, clay is plastic enough to be shaped: when subject to red heat or above, it becomes dense and rock-like.

Coiling, Coil Building – Age-old method of constructing hollow forms by rolling and attaching ropes of soft clay.

Cones – Pyrometric cones, Orton or Seger brand; pyramids made of clay and glaze constituents that bend at specific temperature. Cones are placed in the kiln during firing to indicate the final heat; they are classified by numbers coded to their softening point.

Engobe – A liquid clay slip colored with metallic earth oxides or glaze stains applied to wet or leather-hard ware for decoration. Engobe can be covered by glaze or used alone.

Extrusion – Forcing plastic clay through and auger or form, mechanically or by hand, to change its shape; can be solid or hollow.

Firing – Heating in a kiln to the required temperature for clay or glaze, at least to red heat, 1300 F (700 C). Bonfiring in a pit or on the ground.

Foot – Base or bottom of a piece.

Glaze – Glassy melted coating developed by chemicals and heat on a clay or metal surface. Glaze provides decoration and color, prevents some penetration of liquids or acids, and yields a matt or glossy, functional surface.

Greenware – Finished leather-hard or bone-dry clay pieces not yet fired; raw ware.

Grog – Crushed or ground-up fired clay, purchased commercially or made by the potter; used to reduce shrinkage, it yields texture; aids in even drying and firing.

Hand-Building – The process of forming pieces without the use of a potter’s wheel. Examples are pinching, coil building and slab building.

Kiln – Furnace for firing clay, slumping glass, or melting enamels; studio kilns can achieve temperatures up to 2500 F (1370 C). They can be fuelled carbonaceous, organic, or electrically.
Kiln Furniture – Refractory slabs, posts, supports (called setters) for holding ware in the kiln, handmade or purchased.

Kiln Wash – Half clay, half silica, mixed with water to coat kiln shelves.

Leather-hard – Cheese-hard stage which clay reaches before being bone-dry; stiff enough to support itself, but still can be altered.

Luting – A method of putting together coils, slabs, or other clay forms in the wet or leather-hard stage by cross-hatching and moistening; the same as scoring.
Matt – Dull, non-reflective surface; in the case of glaze, due to deliberate composition or immature firing.

Mold – Usually a plaster form, single or multi-pieced, which will be used to reproduce any number of accurate copies of the original model in clay or plaster.

Pinching – Moving and shaping clay with the fingers.

Plaster – The mineral gypsum, with the chemical composition of calcium sulfate, used for clay/mold reproduction and as a work surface.

Plasticity – Workability; clay is the only mineral having real plasticity, meaning the ability to form into any shape, and to get progressively harder in the same shape on being fired to 1300 F (700 C) and above. Other materials, such as talc, can be said to have claylike plasticity.

Pottery – A loosely used term; often means earthenware or just any clay piece that has been fired.

Pressing – Forming plastic clay in a plaster mold or other form, by laying it against the mold face.
Resist – Wax, varnish, latex, or other substance applied in pattern on a clay or glaze surface to cover an area while the background is treated by another material or color.

Scoring – A cross-hatch and moistening method of putting together coils and slabs in the wet or leather-hard stage; the same as luting.

Sgraffito – A design scratched through one surface to another.

Shrinkage – Contraction of clays or bodies in drying and firing, caused by the loss of physical and chemical water and the achieving of molecular density.

Slab – Flat piece of clay from which shapes can be fabricated.

Slip – A suspension of ceramic materials in water; generally refers to casting slip for molds; can mean a liquid clay enrobe for decorating or a glaze slip.

Slurry – Thick suspension of one or more ceramic materials in water; usually refers to slushy clay.
Throwing – The process of forming pieces on a revolving potter’s wheel from solid lumps of clay into hollow forms.

Trailing – A method of decorating with enrobe or glaze squeezed out of a bulb from a small orifice or poured from a narrow lip.

Translucency – Ability to transmit scattered light, not quite transparent.

Transparent – Clear, like window glass; can be colored or colorless. Texture or decoration instantly shows through a transparent glaze.

Wedging – Kneading clay to expel air and make the mass homogeneous for hand processes.