These are the glaze tests that I've done personally. I have pics for some of them along with some interesting glaze combinations using either my glaze tests alone or a mix of these and the studio glazes at the community college I attend. Hopefully, I will eventually have pics for all of the glazes listed here but I don't conveniently have all my pieces here at home to take pics of at my leisure so those will have to wait. The pics are approximately 5 inches wide by however tall they are as they vary from one to another. Also, I have links to some, if not all the glazes from where I found them.
Cone 10 Glazes
Glaze type: Stoneware
Cone: 8-10
Firing: Reduction
Surface texture: Gloss
Transparency: Transparent
Color: Green celadon
Custer spar 30.00
Whiting 20.00
Ball clay 20.00
Silica 30.00
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Totals: 100.00
Also add:
Red iron oxide 2.00
Picture: (not available yet cause I forgot...)
My Comments: I find that the site's author's description of this celadon rather vague as it consists of "Green Celadon." I think a better description would be closer to a pale olive green where it's thinner and a deep jade green where it's thicker. Also, when viewed in sunlight, there are some pale green floaters that faintly appear. Another thing to mention is that celadons DO look better on porcelain or at least on a white clay body. I actually did two tests for this glaze: one on Grolleg Porcelain and another on Scott Clay (stoneware) both from Seattle Pottery Supply. The first description is for the porcelain while the results for the Scott clay body was a transparent olive green. It is a nice green, mind you, but just not what I wanted.
Copper Red ***No. 3 (c/8-10)
(Recipe by Tom Coleman. From an article from studiopotter.org...I can't give the exact URL but the article possibly can be searched at the site)
Kingman feldspar 25.0
Silica 25.0
Nepheline syenite 25.0
Colemanite 17.5
Barium carbonate 10.0
Whiting 2.5
Copper carbonate 1.0
Tin oxide 1.0
Red iron oxide .5
Picture: (none yet cause I forgot this too...) My Comments: Not a glaze to be used either too thinly or thickly. When thin, it becomes a similar olive green as the Celadon Vert aforementioned and when thick used on porcelain, it becomes somewhat runny but is a nice deep brick red colour.
Experiments with Oxides and Carbonates in Clay Bodies
Marbling cobalt carbonate with Sea Mix ^10 clay
I believe there is approximately 2-3 grams of cobalt carb. marbled dry into about 400 grams of Sea Mix. This comes out to be about a pinch or two of carb. and a handful of clay for me. This is a wheel thrown cylinder with a thin coat of Shaner's Clear over it. I find that a thicker coat makes the glaze cloudy. Also, I had done another cylinder with chrome oxide, but I'd forgotten to trim the surface of it and so the marbling can't be seen and shows up as variants of green.
Marbled cobalt cylinder
Copper carbonate mixed into Grolleg porcelain
The ratio of carbonate and clay is about the same as the cobalt marbled clay aforementioned but this time it's mixed as thouroughly as possible. With this piece, I took advantage of Grolleg's fine particles to carve in flames reminiscent of flames in a raku kiln when copper is present. Parts of the surface has been brushed with a thin coat of Shaner's Clear. Fired to ^10 reduction.
Raku Glazes
Side note to start off with...does anyone have a glaze recipe called Dynasty Blue? It's one used by Gary Ferguson and has a beautiful deep blue colour with copper flashes...*sigh* I think my instructor will hate me next quarter as I plan to do many glaze tests with blues..... ;) can't tell I like blue, can ya?
Dragon Fly
Frit 3134 45
Gerstley Borate 40
EPK 8
Silica 7
Copper Carbonate 6
Picture: I don't yet have a pic of Dragonfly fired in a raku firing. I'm waiting for my pieces to be fired. I do have test tiles of them but they're not all that grand and I would like a larger piece to show off. ;) Until then, here's what happens when Dragonfly raku goes through a ^10 firing! Dragonfly Raku in high fire The picture turned out quite well and is fairly close to the actual piece. However, in the center where it's all aqua coloured, there are patches of pale magenta floating in the aqua colour surrounded by veins of a deeper aqua. Dripping down the edges, you can sort of see the teal/magenta streaks that are reminiscent of Rutile Blue and Regnor's Purple.
My Comments: First off, if any of you who have not done this before and want to try this, PLEASE keep in mind that this IS a RAKU GLAZE!!! It wasn't meant to be fired as high as I have done and therefore shouldn't be used to glaze the outside of pots!!! What I tend to do is glaze the outside and about an inch down from the inside lip with a high fire glaze and then pour or brush in the raku inside my bowls. The underside of this particular bowl depicted is glazed with Shaner's Clear so I didn't bother to show that side since it's not all that amazing. Also, when I do this to my bowls, I usually plan not to use them for food since there may be issues with chemical mixtures that I don't know about. I don't know whether or not there would be problems, but I just don't use them to be safe. Other than that, it's a nice glaze!
So what does it look like when raku fired? It's a pale to medium yellow green with flashes of copper and oilspot-looking things.
Gun Metal (Rich Oranges Greens & Purples)
Gerstley Borate 3 parts
Nepheline Syenite 1 part
Copper Carbonate 3 parts
Red Iron Oxide 3 parts
Picture: (still waiting for firing....grrr...)
My Comments: Not much to say yet other than the fact that this is a high in iron glaze and gets all nice a messy!!! ;)
Moondust
Magnesium Carbonate 37
Borax 28
EPK 14
Lithium Carbonate 7
Gerstley Borate 14
Copper Carbonate 10
Picture: The first two examples were sprayed with stannous chloride (tin chloride) prior to firing. Typically, stannochlor is sprayed on right out of the kiln for fuming. I do have a piece where this was done but I don't remember which one it is. I'll have a pic up when I figure it out. The bowl is just the moondust itself without the stannochlor.
Moondust 1
Moondust 2
A bowl with Moondust
detail of bowl
detail from outside of bowl
My Comments: Nice glaze if you like smooth, bubbly textures. When it does work, it is very colourful and when reduced properly, there are flashes of colour that look like oilspots on a pale yellow background. Where it doesn't reduce properly, it turns a dull burnt ochre colour and using a torch on it doesn't really help that issue beyond lightening the shade of ochre. When used with stannous chloride, the bubbles tend to break up more and becomes more like alligator. The difference is that moondust has a habit of becoming glossy at edges which can be a nice effect. It sometimes goes smoother and more satiny where it's thick and hasn't cracked.
SOLDNER'S GHOST TRACK
Red iron ox. 50 grams
Copper carb. 50 grams
Pictures: (none yet, the test tile's at the studio as well and doesn't look all that grand)
My Comments: I'm thinking there's a way to make this glaze do something interesting. So far I've gotten this rust red textured thing that's shedding most of its texture leaving a darker rust red background. Looks a little interesting when put over red iron oxide designs but not very appealing as far as colour goes.
Post Pac-Man ^05 (can produce copper matt, halo effects, and nice oxidation hues as well)
Gerstley Borate 50
Nephline Syenite 30
Bone Ash 30
Copper Carbonate 30
Red Iron Oxide 2.5
Bentonite .5
Pictures: (none) My Comments: In all technicality, I haven't done this glaze as a test. This was a studio glaze at my highschool that I think I used once or twice. If I remember correctly, it has a rusty overall colour with a bubbly texture...
Rogers Black (Glossy, Dark Blue/Black with Copper flashing with heavy reduction. GRF)
Custer Feldspar 20
Gerstley Borate 80
Red Iron Oxide 10
Cobalt Carbonate 10
Black Copper Oxide 10
Picture: I may or may not be mistaken, but there was a studio glaze called Raku Black at my high school and I'm not sure if the two are one and the same because the descriptions fit the piece that I done during high school. Click to see Raku Black.
My Comments: When reduced properly, this glaze has very beatiful flowing flashes of copper much like the ones seen in another glaze called Dynasty Blue used by Gary Ferguson. When oxidized, it just becomes flat looking gloss black. I just happened to get lucky with the piece depicted because I had a few other pieces that didn't turn out well and looked sort of like gunmetal (the colour not the glaze called Gunmetal).
