Sodium chloride thrown into a hot kiln vaporizes and reacts with the silica in the clay body — the glaze forms in flight, on the pot, from the kiln atmosphere itself. Reads as orange-peel texture, mottled gray-brown, traditional German Westerwald-Krug salt-glazed jugs, drainpipes, country stoneware. The kiln is glazed forever after; one salt firing converts a kiln into a salt kiln.
At 1200–1280 °C the salt (NaCl) vaporizes; chlorine off-gases as HCl while sodium reacts with surface alumino-silicates to form sodium-alumino-silicate glass directly on the clay body. No applied glaze coat — the surface is the body, vitrified. Texture characteristic 'orange peel' from droplet condensation; color comes from iron / manganese in the clay body and from flashing where flame paths concentrate. Salt firing releases HCl — modern studios use soda-ash (Na₂CO₃) instead for similar effect with less corrosive emission.
character — orange-peel texture, mottled warm tan to gray, kiln-flash patterns, country-pottery 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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