Ceramic Dictionary

by Susan Mussi

TABLE - Glaze-Bases

es: MESAS - Para Esmaltes Bases

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Tables, basins, shelves for working with glazes.
This table is designed for storing three different glaze-bases and for applying them to all types of ware; tiles, plates, jugs and lids. When making the table, remember it must be low enough to allow space for your arm to move over the basin when throwing the glaze-base onto tiles.

The size of the piece of furniture depends on where it is going to be, how many glazes you want to have permanently prepared and on the size of the products you decorate. The one that is described here has three plastic containers of different sizes, each a different color. The center shelves must be very strong, to take the weight of the containers full of liquid glaze-base, prepared for use. The inside measurements of the big basin are about 60 cm wide and 30 cm deep and the two small ones are 42 cm wide and 30 cm deep. In the small ones I keep crackle and semi-matte glaze-base. The big one holds about 30kg of Siglo 18, all ready to use.

Each of the three containers must have a separate lid to keep the glazes clean. They are made to fit together so they form a large tabletop, which is a useful space to work on. The wooden bar round the outer edge of the table supports each lid on one or two sides. On the undersides of each lid, bars the same height as the ones round the edge of the table, are attached on the front and sides that need support.

On the wall above the table, mount as many removable shelves as possible. There are two different widths, 15cm and 20cm, which are the width of the tiles. These are to leave work that has been prepared with a glaze-base to dry, before starting to clean it. When preparing jars or plates just take out a few shelves, put one on top of the other and you’ll have the space needed for them height wise.

The bottom shelf of the table should be high enough to make cleaning underneath easy with a broom, mop or vacuum cleaner. Boxes can be made with lids and wheels to fit into these spaces and used to store products.

TABLE-Shelf

ca: TAULA–Prestatge

es: MESA–Estante

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This is a table set-up like a shelf, it is designed so three people can sit and paint at the same time. Underneath it has room for a table-trolley and the chair when not being used. It is deep enough to hold a tile stand which is big enough to put six tiles vertically or horizontally. Along the front it has a bar of wood to stop what you are working on from slipping off. On the left there is a pole clip to hold the hand pole you use for painting.

TABLE-Trolley for painting materials

ca: TAULA-Carretó per a materials

es: MESA-Carrito para materials

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Table -Trolley to hold everything you need while working; it should have wheels as you could be working on two or three different pieces at the same time and it makes moving about easier. What makes an excellent table is a bedside table. It is the right height and if it has three or four drawers, take one or two out so as to make shelves. Put wheels on it so it is easy to move and it is for painting, sitting or standing. In the three photos the first a doctore table diesigned to hold instruments and the next are bedside tables.

TABLES - Tops with tiles

es: TABLERO-.Mesa con azulejos

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Tables with tiles: If they are for indoor use they can be supported by wood but for outdoor use, metal and plaster should be used.

Wood; This is done the same way as mounting pictures.

a) Table: Wood is cut out to the size needed, then pieces of newspaper are glued on to it with carpenters’ glue and left to dry. When dry, using the same glue, the tiles are stuck on top of the paper.

b) Table for the tea cup: this is my invention. My husband, first thing in the morning, sits in the bathroom reading the newspaper with a cup of tea, putting the cup on the edge of the bath wall. They fell into the bath and broke at the rate of one cup a week. It is a tile 20 × 20 cm with a wooden frame, wood also covers the back. Two large clips are attached to the back so the table can be hooked on to the edge of the bath. No more cups have been broken in the bath!

c) Table top can be made with tiles or mosaic design. The photo shows an old sewing machine used as legs for a patio table. The table has a metal frame with bars that crisscross between it. On top goes a layer of cement and when dry the tiles are cemented to it, like laying tiles on a floor.

d) Tables with sun a shade. Many tables are made with a hole drilled through the center big enough to fit the leg of the shade. Make a floor of plaster over the metal table top and leave it to dry. Then drill a hole in the center of the table that will be big enough to hold the leg of the sun shade. Drill a hole, the same size, in the tile that will go on top of it. Use plaster to attach the tiles to the table. The mounting and framing of tiles is explained more thoroughly in See: Framing and Mounting tiles

TABLEWARE

es: VAJILLA

Tableware covers all utensils used at the table when prepared for eating and drinking; plates, glasses, cutlery and accessories.

TALCUM POWDER

es: TALCO

Talcum powder usually defines a white toilet powder, but an industrial exists, also white, unscented and heavier. It is made out of French chalk and used to mark designs on to dark ware and dark colors and when fired burns away. It is also useful for dusting inside molds, this helps to make separating the clay from the mold easier.

TAPE MEASURE

es: CINTA MÉTRICA

Tape measure is a long and flexible strip of cloth or metal, marked with the subdivisions of the centimeters or inches and used to measure spaces. When flexible it is a tape measure and when not flexible it is a ruler

a) Centimeters or inches. b) Case. c) Hook. d) Tape lock. e) Hanging cord

TEA POT

es: TETERA

Teapot is a utensil for steeping tea leaves or herbal mixtures in boiling water. It has a lid, handle, funnel and the funnel has a straining section.

Method of using; When the water boils a small amount is poured into the teapot, swirled round to heat up the whole pot then tipped out. The tea or herbs are put into the pot; it is then filled up with boiling water and left to stand for a few seconds before serving and can be served with or without milk, lemon and sugar.

TEASPOON

es: CUCHARADITA

Teaspoon is a small spoon designed to add and mix sugar with a cup of tea and has got its name from this function.

TECHNIQUE

es: TÉCNICA

Technique is to have the ability to apply the technical skills of a particular art that can be decorative or physical; painting or dancing.

TEMPERATURE

es: TEMPERATURA

Temperature: : there are two main scales of temperature, Centigrade (º C) and Fahrenheit (º F). All the temperatures in this dictionary are given in Centigrade; the following is a conversion table of Centigrade to Fahrenheit.

TEMPERATURE - CHECKING KILNS

es: TEMPERATURA - CONTROL DE HORNOS

A pyrometer is an electrical instrument for checking the temperatures in kilns. It registers the rise of the heat during firing. It is connected to a porcelain sheath, which is passed through the spy hole in the wall of the kiln to protrude for about 2 cm inside and monitors the heat which is shown on the pyrometer.
Another checking method consists of using cones. They are placed in different parts of the kiln in small lumps of clay to keep them upright and in line with the spy-hole so the heat process can be observed. When the kiln is opened, if one has bent too much, it means that the heat is too high in that part of the kiln, and if not enough, too low.

TEMPLET

es: PLANTILLA

Templet is a cut out profile in a strong material like plastic, thin wood or metal.
They can be manipulated by hand or using a jigger and jolly.

By Hand: they are for forming and checking shapes in clay. Using a template (also known as a hand card). The example (a) is to form the outside profile of a bowl and (b) is a borders and skirting tiles.

By jolly or jigger: They are instruments made to hold a template in relation to the clay being turned on the wheel. They must be very stable and for this reason are usually attached to a wall. A mold is put on to a wheel and centered, the clay laid over it or into it. The template is held in a jigger or jolly, placed against the clay then thee wheel is slowly turned and the template scrapes and removes the unnecessary clay until it forms the shape of the template.

a) Handle, b) Template, c) Clay, d) Mold.

TENMOKU

es: TENMOKU

Tenmoku

TENSION

es: TENSIÓN

Tension is when a cord between one or more people or objects and is pulled so tightly it reaches the point of breaking.

TERRACOTTA

es: TERRACOTA

Terracotta is red-brown clay that has been fired. It is the most common cl904ay, found in the earth throughout the world. It can be molded, cast and turned on the wheel and used to make bricks, tiles, flower pots and many objects, both industrial and decorative. It is cheap, easy to work with; it is formed into a required shape, left to dry and then fired at between 800º C and 1050º C. When fired it turns into a material that is solid and breakable but still porous. It is not waterproof, water can dampen and pass through it but without altering its structure and when fired it is also known as bisque. To make it waterproof, it must be covered with a layer of glaze and fired again, the glaze vitrifies and acts as a thin layer of glass and makes it non-absorbent

TEST COLORS

es: PRUEBA DE COLORES

Test colors. Test colors: keep a file on the all the colors you use, classifying them under the temperature at which they are fired. File the name of the color, where you buy it, the industrial names of the ingredients and the measurement of everything needed to make it, plus two fired samples of each color and a photo of the sample. To test colors, use a small piece of dry clay or bisque, prepare it with the color, code it on the back and fire it. See: Color testing

TEST KILN

es: HORNO DE ENSAYO

Test kiln is a small kiln made for testing colors and clays. As the firing time is much quicker it gives colors misleading results, the higher the temperature, the more incorrect. The results of test-pieces are always better when put in a normal kiln. See: Testing kiln

TEXTURES

es: TEXTURAS

Textures are visual qualities or rough, uneven surfaces given to clay, colors and glazes-bases.
See: Glaze-Base Tectures

THERMAL EXPANSION

es: EXPANSIÓN TÉRMICA

Thermal expansion is the relation of volume and size of ceramic material to temperature. The more it expands during heating, the more it contracts while cooling down. When firing clay, sculpture or work in relief where one piece has differing thicknesses, the change in temperature must be slow so the expansion and contraction are not too abrupt; a thin part will heat up and cool down much quicker than a thick part.

THERMAL SHOCK

es: CHOQUE TÉRMICO

Thermal Ssock refers to extreme temperature change, usually caused by removing fired pieces too soon from the kiln, resulting in cracks.

THICK

es: GRUESO

a) Thick in solid products is the distance between two opposite sides.
b) Thick in a liquid is when a liquid is mixed with other products so its body becomes denser and more solid. Clay is mixed with water to get the correct plasticity for your work.

THIN

es: DELGADO

a) Thin in solid products is when the distance between two opposite sides is very small.
b) Thin in a liquid is when in the mixture of two products there is a lot of liquid in relation to the solid products.

THROW / To

es: LANZAR

Throw is to cast away an object which you are holding in your hand. You lift up your arm, move it backwards, then bring it forward and with force from the arm and hand, let go of the object which flies through the air.

THROWING

es: TORNEAR

Throwing
a) Throwing covers all the different stages of constructing a vessel in clay by means of a wheel.
See: Clay – throwing
b) Throwing is a method of putting a glaze-base or color over a flat object such as tiles.
See: Glaze-base (e) Throwing; applying it onto tiles.

TILE

ca: RAJOLES

es: AZULEJOS

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Tiles for decorating
1) Are usually made in red terracotta clay, bisque fired and can be bought industrially made, handmade or semi handmade. There are many sizes, the two main ones are 15 × 15 cm and 20 × 20 cm and each one has a choice of heights.
2) The industrially ones are made between 6mm and 1cm in height. These can be cut down to make specially required sizes, such as borders and corners; they are well finished and curve slightly round the edges.
3) Handmade and semi handmade are thicker, 1 cm and more, never exactly the same size. There is a smaller selection of sizes and they are more difficult to cut down.
4) For potters, tiles can be bought prepared for decorating in three different ways, bisque, dry clay and clay with a lair of slip.
The first four tiles are industrial made and the size 20 × 7, 5 cm is cut down to make borders 15 × 7, 5 and corners 7,5 × 7,5 cm. The following photos show a few of the hundreds of shapes and sizes there are and the different basic color each one has.

TILE - Broken and cracked.

es: AZULEJO - Rotos y agrietados

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Tiles – broken and cracked.
Tiles must be sounded before decorating to make sure they are not broken or cracked. This can be done when in the piece is in the state of dry clay, bisque or glaze fired. With bisque sometimes the crakes can be heard but not be seen, if so using your hands, force them downwards until they separate, The broken parts can be cut down to special sizes for borders, corners, testing colors, making mosaic patterns, supports for the kiln, etc. With tiles that have been glazed fired cracks can be seen as they separate the glaze, this is shown in the two photos.

TILE - Builders'

es: AZULEJO - Para construccion

Tiles – Builders’ tiles are usually redder in color, come in many different sizes. They are difficult to cut down, not well finished off, have a rough texture and do not fit together evenly. If you have the time to experiment and make trial firings you will find some leave rough, strange textures, which can help certain designs.

If the bisque has a texture full of small holes, you can help eliminate some by wetting the part that is going to be decorated with a large soft brush and clean water. The water blocks the holes so the glaze-base when thrown over it is not affected too much. When fired some are left and this helps to give an antique texture.
See: Bisque damppeng

TILE - Clay cutter

ca: RAJOLA - Tallador d'argila

es: AZULEJO - Cortador de arcilla

Tile – Clay cutter are made in metal to cut out different geometrical shapes and sizes int flat clay, some of which can fit together to form a flat surface. The clay is rolled out to the required height, the cutter is laid on top, the walls, controlled by a spring, are pushed down into it and the shape is cut out.

TILE - Cutter by hand

es: AZULEJO - Cortador a mano

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Tile – Cutting by hand is needed for borders in artistic ceramic designs as they are half the size of a tile and go round the outside of a picture. They used to be bisque tiles of 15 × 15 and 20 × 20 cm cut in half but now you can buy ones of 7,5 × 20 cm. These are cut down to make borders 7,5 × 15 and corners 7,5 × 7,5 cm. This is much better as you can cut two corners out of one, it is much less work and much more exact.

Buy a good cutter that holds the tile in place and has measurements exactly and clearly marked on to it, the more exact the better.

The photo from left to right: The borders cut down, then decorated. The last photo is six tiles showing the process of making bread using the same border. The tiles are 15 × 15 and the borders 7, 5 × 15 cm.

The parts of the tile cutter:
1) The arm that is pulled down over the tile.
2) The bar for holding the tile in place.
3) The screw that holds 2 in place.
4) Two static bars to hold 6.
5) The U that is forced down on each side of the scratched line.
6) The point that moves up under the tile to force the break.
7) The bridge held by the two straight bars 4.
8) The handle that screws in to the bridge 7 and holds the scratcher 9.
9) The scratcher.

Remember: when cutting a tile in half to make borders and corners, they must be as exact as possible as they are going to form a line. If cut too short or too long, when put together this length will multiply in relation to the amount used. It is much better that they are longer not shorter, if longer they can be filed down but if shorter they cannot be used!

Working Sequence:
When cutting a tile to make borders and corners, it must be as exact as possible as they are going to be put together in line.
1) Photo a shows the cutter prepared to use.
2) Measure and mark the center of the tile with a pencil line.
3) Place correctly in the cutter, so when the handle is pulled down the cutting scratchier touches the pencil line.
4) Tighten the bar that keeps the tile it in place.
5) Move and lower the arm until the scratchier touches the front of the tile and on the line. Push it forward and downwards into the tile, indenting a line. Lift up the arm and pull it back.
6) Then the second arm is pulled forwards, this lifts up a spear that is under the tile, at the back center, with the pressure of it going up against the arms it breaks the tile in half.

The edges that have been cut are rough and have to be filed. If you are only dealing with a few, lay out a piece of strong sandpaper on a flat surface and rub the rough edge of the tile over it two or three times, also file and round off the corner of the upper cut edges.

If you have a lot to file, make a filing block. This has a wall to help keep the borders straight while filing. It can be just a flat piece of wood but always make sure the sandpaper is firmly attached to it.

Note: The edges that have been cut are always on the outside when forming the frame, so the straight edges will be next to the straight edges of the tiles that make up the picture they are framing.

TILE - Cutter electric

es: AZULEJO - Cortador eléctrico

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Tile – Electric tile cutter
There are many electrical machines to cut and file tiles, but unfortunately they are all designed for builders, not for potters. They throw out dirty water and wet grains of bisque while cutting. I have had my electric cutter altered so it can be used with my industrial vacuum cleaner, so my walls and floors are kept clean. The basic principle is to alter the cutter so two exhaust pipes can be attached to the vacuum cleaner. In this way the powder thrown off while cutting is absorbed into the bag of the vacuum cleaner and water does not have to be used.

Electrical cutters are designed to cut a tile to a measurement but not in half and a border for a potter has to measure exactly half a tile. On a cutter the size is calculated from the right hand side of the blade to the right hand side of the tile which is going to be cut. The width of the blade is ⅛ cm and this is eaten away by the cutting, leaving the left half of the tile smaller. You have to calculate the exact placing of the tiles in the machine so it cuts through the center, eating the same amount off each side. If you use the machine a lot for certain sizes, mark a line on its floor with indelible ink where the tiles should be placed.

In the photos you can see the bar, like a step, that supports and holds the tile in place. This step slants the cutting slightly so we lay the tile on the floor but against the step, not the wall of the step.

Working Sequence
1) Measure and mark the center of the first tile with a pencil line.
2) Place the tile so the disk falls exactly in the center of the tile.
3) Fix the wall that holds the tile in place.
4) Tighten the screws that keep the wall in place and make sure it is straight.
5) Turn on the drill, cut half way through the tile.
6) Take out the tile; turn it upside down, so the back of the tile is facing upwards
and the same edge is against the bar.
7) Cut until you reach the first cut and they separate.
8) Lay the two borders on a flat surface and check, by putting each side together, that they are exactly the same height.
9) With corners do the same, cutting a border in half.
10) Filing the rough edges –
a) Turn on the machine and files the sides, lay them flat and push them backwards and forwards against the disk to leave a smooth finish.
b) Hold the border at 45º so the top front corner, that has been cut, just touches the disk and very gently file and round it off.

TILE - INDUSTRIALLY GLAZED

es: AZULEJO - ESMALTE INDUSTRIAL

Tiles – industrially glazed can be decorated with the on-glaze method. Before starting you should fire one at the heat you require, making sure the industrial color or colors are not affected in any way. The main problems are that they break easily.
See: Glaze base methods and On-Glazing

TILE - Problems

es: AZULEJOS - Problemas

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In the past there were many different types of industrially made tiles with different trademarks, qualities, sizes and colors. Their production consisted of two stages: the making of the bisque and the decoration, often by two different firms. The way of producing tiles in the last 60 years, has completely changed, they are now made with non-stop machinery, which shapes, dries, decorates and fires them and they are made to be stronger, lighter and cheaper. There are still a few firms which specialize in the fabrication, so the choice has become limited and the ways used have changed, affecting the Majolica method.

What affects it more than others methods is that it is an in-glaze, the tiles are prepared with an opaque glaze-base, left to dry, decorated and then fired. It is during the period of drying when the problems start. With on-glaze, as the tiles are fired before being decorated, they can be fired straight away, which avoids these problems.

We have been preparing tiles in the same way for twelve years; applying the glaze-base, cleaning them, leaving them to dry, piling them up by pairs, face to face, (base on top of base) then leaving them for days, weeks or even months before decorating and firing them.

Problem 1 The firm we bought them from stopped producing tiles and we had to find another place to buy them. The new tiles were made to be stronger, lighter and the color of soft red, changed into a strong and darker one. These changes means they cannot absorb water quickly, so when they are covered with a glaze-base they take a long time to dry, the old tiles took one or two hours and then could be piled up face to face. When the new ones were prepared with the glaze-base they had a strange reaction, a rash appeared mainly round the edges; very small hard spots, which did not go away. When fired it damaged the work making it unsellable. We just could not understand what was happening and suffered the consequences, as hundreds of tiles had to be thrown away.
By sheer accident we found the solution when making two pictures of thirty tiles for the same client; we laid out one on the tile stand to dry off so we could start to work and the other one we left piled up. After four days when we wanted to start to paint the second one, we found it had the disease. What causes it we do not know, but how to avoid it we did! Now one long wall has narrow movable shelves from top to bottom, where all the tiles are laid out and left to dry separately without touching each other. When the glaze-base and the tiles are dry, which takes about three days, they can be stored in piles on top of each other, as before.

Problem: 2 When we started using the new kind of tiles, once fired to the correct heat the glaze surface was matte, as if not completely fired. The first way we found to avoid this was to spray the finished work before firing, with a layer of transparent glaze. The method was expensive and unhealthy. After doing this for about six months, we realized that the trouble was caused because the bisque tiles we bought were under-fired. So we fired them all at 980º C before starting to decorate, which was only necessary for industrially made tiles.

We use tiles that are industrially made, as they are cheaper, thinner and lighter and this makes them more economical to use in many ways, less price as far as transportation, packing and firing are concerned. This is only needed for industrially made tiles, as every other object we use, plates and jars can be fired normally and handmade at the request of the client.

a) A tile from a picture of 20, where the whole surface is affected; if you increase the size of the photo, looking closely the small white spots can be seen.
b) This is the corridor prepared to dry the tiles. The wall has movable shelves and they are built up, one on top of the other, using small bars of wood; which leaves enough air to dry them.
c) At the same time there were problems with the manganese – all the outlines started blistering, although the make and type of color had not been changed. Does any poor client know when a product he has bought has been changed? The solution to this was to stop using manganese and instead to use 1 part brown-red with 1 part dark brown.
d) The photo shows the back of two tiles; a new one and an old one. The simple difference in colors shows the better quality of the old ones, also the surfaces at the back of them are much easier to clean. The new ones are made with small indented lines (which doubles the work).

TILE - Shelves

ca: RAJOLA - Prestatge

es: AZULEJO - Estantes

Tile shelves, are industrially made bisque tiles cut down to the sizes you require for shelves, to use when packing the kiln and as a tray to move decorated work, that cannot be touched, from the place it has been decorated to the kiln, where it becomes a shelf supported by tube props.

TILE - Stands

ca: RAJOLES - Suport

es: AZULEJOS - Soporte

Tile Stands In the drawings below, there are two stands. Both have a small, narrow wooden bar along the bottom to support the tiles.

a) Tile support b) Border tile support c) Wooden bar – Tile support d) Wall supports

1) The large stand can hold up to twenty tiles lengthwise and nine tiles high, which makes it 135cms high and 300cm long. The tile support is one piece of wood, and on each side has a leg that extends up to the top. At the top, the legs rest against the wall to support the weight of the tiles. This creates a slant in the stand so at the bottom the legs have to be cut at an angle.
2) The slight slant that is necessary to keep the tiles from falling off, as is shown in the side view illustration.
3) The small stand is to put on a table so you can work sitting down. It is designed to hold up to six tiles, vertically or horizontally.

BORDER TILE SUPPORTS: Start by putting a line of bisque border tiles supports along the stand, to the length of what you are going to paint. This makes a space between the bottom tile of design and the bar that supports it, so when products being used fall they collect on top of the bar and against the border and do not touch the prepared tiles. On top of the bisque tiles, place the ones that have been prepared to work with. They should have the design marked on, be numbered, coded and have the excess ash cleaned off.

Note: A border tile is a tile cut in half. See: Borders and corners

TIN-GLAZE

es: ESMALTE DE ESTAÑO

Tin-glaze To produce a tin glaze mix tin and lead in order to form oxides, which are then added to a glaze matrix (alkali-silicate glaze, for example) and heated. After the mixture has cooled, the tin oxide crystallizes, generating the so-called white tin-opacities glazes.

The white opaque surface makes tin glaze an excellent ground for painted decoration. The decoration is applied as metallic oxides, most commonly cobalt oxide for blue, copper oxide for green, iron oxide for brown, manganese dioxide for purple-brown and antimony for yellow.

TITANIUM DIOXIDE

es: DIÓXIDO DE TITANIO

Titanium dioxide

TONGS

es: TENAZAS

Tongs: are metal instruments used for picking up fired pieces out of the kiln that are still hot they are also used to hold plates, pots, lids and other objects when dipping them into a glaze-base or color.
Raku tongs are specially made to be stronger, longer and more resistant to heat.

TOOLS

Tools are utensils designed for a purposs and each specialty has its own tools. Under each of these heading there is a file with illustrations and the names of each piece. Then in the dictionary under the name, more information can be found on each one. This is to make finding what you are looking for easier. The sections are See: Clay (7a) Accessories / Clay (7b) Accessories / Clay (8) Tools / Kiln – Furniture / Brushes – Decorating / Brushes – Practicable

TOOTHBRUSH

es: CEPILLO DE DIENTES

Toothbrush is a small brush with long handle used for cleaning teeth. When old, hard and cut down they are good for cleaning small places and footings of plates, jars and lids It is very important that the footings are clean so they do not adhere to what they are standing on when being fired.

TRAILING

es: REGUEROS

Trailing is to apply a color, held in a small container, which is pushed down and out through a nozzle to trail in a continuous line. For this a slip trailer, injection tube or a bag for icing cakes can be used. They can be brught with different sized nozzles.

It can be done on to clay or bisque directly or by first covering what is being decorated with a color and then trailing other colors on top, using a slip trailer. The lines of different colors can be broken in irregular ways like feathering, tilting. Trailing can used to fill up spaces, draw outlines and to write.

TRANSFER

es: CALCOMANÍA

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Transfer literally means to pass something from one place to another. A transfer in ceramics is a design copied industrially to reproduce it many times. They are printed on specially prepared paper to form a film that can be transferred on to another surface and can be bought prepared or you can have a design made up. In ceramics they are made to put onto any glazed surface cups, plates, tiles, etc. which are fired between 700º and 800 ºC.

Notes:
The first illustration is the tile 15×15 cm hand painted which was decorated especially for making the transfer. The following photos are taken on top of a light brown canvas to give contrast to the white and transparent paper of the transfers.

Working sequence:
1) The tile is 7,5 × 7.5 cm and has been fired with a white opaque glaze-base. Clean it with a soft, slightly dampened cloth, this makes it more adhesive and helps to hold the transfer in place..
2) Cut out the transfers that are going to be used.
3) Have a small, flat bowl of clean water, put into it two or three cut out transfers. Let them soak it for a few seconds; they will roll up as the water filters down between the transfer and the paper. This starts to separate them, it will flatten out again.
4) Lift one out of the water, holding it by the two top corners and push the transfer up, so it slightly overlaps the white paper.
5) Lay the part of the transfer that is separated on to the tile, so the top two corners of the transfer are places correctly.
6) Holding it down, pull the paper out from under the transfer.
7) Take off the tissue paper and smooth out the transfer with your fingers or a soft kidney, removing all the air locks and make sure it is flat and correctly placed.
8) The tile is ready for firing between 750º and 800º C. If you look closely at the last photo round the edge of the tile you can see a small edge of the transparent paper the design is printed on, this when fired burns away and seals the design on to the tile.

Note: The following are more information on the first four illustrations a) to d).
a) A section showing how the transfers come prepared it is 999 × 999 and has 90 transfers. There is a space between each one so they can be cutout.
b) When not being used do not leave them piled up on top of each other, the weight can make them stick together. Keep the large pages in a strong, thin, cardboard box that can stand on its side.
c) For the ones you have cut down and are not used, make a box the right size so they can be kept standing-
d) A transfer has three sections, the tissue paper to pretext it, it has been pulled back so you can see the transfer that is on transparent paper and underneath it is a white paper which it is lightly attached to. When the transfer is correctly place the tissue and the white paper are removed. This photo is to show the three parts of a transfer, the light tissue paper has been pulled back, underneath is the design printed on transparent paper and underneath is white paper, to which it is lightly attached.

TRANSLUCENT

es: TRANSLÚCIDO

Translucent is when light can pass through a product but is diffused so what is on the other side is not clearly visible:

TRANSPARENT

es: TRANSPARENTE

Transparent is when a structure allows the rays of light to pass through it so that the bodies on the other side can be seen distinctly; such as glass, glaze, plastic paper, tracing paper, water, etc.

TRANSPARENT GLAZE

es: ESMALTE TRANSPARENTE

Glaze in ceramics works like a varnish for furniture, except it has to be fired. It is made up of finely ground powders which are mixed with water, then laid over ware either in the clay or bisque state. When fired, glaze melts and turns into a transparent, thin, layer of glass that can be brilliant or matte. The natural color of the bisque or clay reflects through the glaze and gives it a strong, attractive quality and makes ceramic work non-absorbent to liquid. This is known as glaze firing.

TRAY

es: BANDEJA

Tray is flat and shallow with slightly raised edges, made in different shapes, rectangle, square, round and oval and is used for carrying, holding, or displaying articles. It can be made of wood, metal, plastic, etc.

TRIM

es: DESBASTAR

Trim is to level out, smooth off, to give the finishing touch to something being made.

TRIPOD

es: TRÍPODE

The names of the of the part of a tripod.
1) Camera screw. 2) Plate. 3) Quick release system. 4) Side-tilt lock. 5) Horizontal motion block. 6) Column. 7) Telescopc leg. 8) Camera platform. 9) Panoram ic head. 10) Camera platform lock. 11) Column lock. 12) Column crank. 13) Collet

Tripods are made to hold cameras at different angles and heights. There are hundreds of different makes and types, so get one that is light to carry, easy to fold and strong enough to stay in place when being used.
In ceramics, photographing and filing your work is very important and as glazed ceramic work has a glass surface it cannot be photographed with a flash as this reflects on the object being photographed. You must have a good, strong, steady tripod so the camera is completely static when taking a photo as the slightest movement will spoil it.

TROLLEY

es: CARRITO

Trolley for a potter consists of shelves with wheels. There are different types, some can be folded, some have selves that can be put on and taken off, moved up and down to accommodate work of all sizes. They are very useful for moving and storing decorated work.

TROLLEY KILNS

es: CARROS PARA HORNOS

Trolley kilns are shelves that can be mounted and packed outside the kiln; this means you can work on four sides and on each floor separately. When completed, as it is on wheels, it can be pushed back into the kiln. These facilities are only available with large industrial kilns.

TUBE PROPS

ca: SUPORTS TUBULARS

es: SOPORTES TUBULARES

Tube props: are kiln furniture. They are legs used for supporting and building up space between shelves, made in many different shapes and sizes. The first two are designed so they lock into each other and the last ones are straight and have to be well balanced; which is helped when the shelf is put on top as the weight holds them in place.

TUBES

es: TUBOS

Tube is a hollow cylinder that can be of any length and is used to convey materials from one place to another. It can be made of glass, metal, plastic or a ceramic material. Many are sealed at one end and at the other have a capped opening; the cap can be taken on and off. Tubes can be pliable or rigid, a tube for watering plants is pliable, whereas a tube for carrying cement for industrial interrelations is rigid. See: Slab rolled tubes

TUNNEL KILN

es: HORNO TÚNEL

Tunnel kilns are also known as continuous kilns. The ware is put on to bats, the bats are on rollers which turn and slowly move the ware through a long tunnel and as it moves, it goes through the whole process of firing. The heat increases and when it reaches the central section it will be at the hottest part, the heat required for that type of ceramics. It goes on moving, but with the temperature gradually reducing until it leaves the kiln at room temperature.

TUREEN

es: FUENTE SOPERA

Tureen is a large, deep dish usually with a lid, used to serve, hot liquid foods such as stew and soup.

TURNING

es: GIRAR

Turning is to move around on an axis, such as turning your head or turning a wheel. A ceramic wheel can be rotated by hand, foot or electricity. A hand wheel when turned is used for banding and it allows you to work on all sides of the object. With foot or electric wheels, the turning is continuous and allows you to form round objects in clay, like bowls, plates and pots. There are now small electric wheels made for banding.
See: Clay throwing and Wheels for banding

TURPENTINE

es: TREMENTINA

Turpentine is a liquid taken from pine trees, which when distilled is made into a resin used for diluting varnish and certain types of paint and can be applied to some methods of decorating. It must be of a good quality and can usually be bought at chemists’. It is mixed with varnish and colors to decorate in the on-glaze method.