A translucent gray-green glaze fired in reduction — the iron in the glaze loses an oxygen and turns from rust-tan to soft jade. Song-dynasty Chinese tea bowls, Goryeo Korean inlay-celadon, Longquan kilns. Reads cool, watery, ancient. Crackle is part of the design, not a defect.
Feldspathic glaze with 1–3% iron oxide as colorant, fired to cone 9–10 (~1280 °C) in a reduction atmosphere — kiln starves of oxygen so the iron is held as Fe²⁺ (gives green) rather than Fe³⁺ (rust). Glaze chemistry is high-feldspar / high-silica / low-flux for a stiff, translucent layer that pools in carved relief and breaks into a soft fishnet crackle on cool-down. Typical thickness 0.6–1.2 mm. Modern studio celadon often skips the reduction by mixing in a small fraction of titanium or chrome to fake the green; the glassy depth differs.
character — translucent jade green-gray, watery glaze pool, fishnet crackle, ancient register.
Robin Hopper The Ceramic Spectrum (Krause, 2nd ed.); Daniel Rhodes Clay and Glazes for the Potter.
House vocabulary — terms ForMatter uses with intent.
Materials and processes for people who design and make things.
A local-first library of materials, processes, applications, and finishes — equal weight, citable everywhere, so a student can move from "what is this" toward "what's actually buildable here, now, by me." Part of the renato.design ecosystem — sibling of Plenum, Specimen, Ingenue, gesture, graf, and the Renato Rhino plug-ins. Form and matter, inseparable.
Half of teaching materials is teaching how the material is made into the thing. The standard subscription library was always light on that half. The wedge here isn't better samples or a prettier interface — it's treating Process as a peer entity, not a footnote.
Conway, Lefteri, Forty, Sparke, ASM, GIA. Every voice: Voices.
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