Elizabeth Herod on thu 20 jul 06
I wasn=B9t actually looking for a slate blue, smoky type of glaze, but in my
testing, I found a combination.
I was actually looking for a glaze that went from black to olive to a
goldish color. ( I had found that at another studio by accident)
For me the process ended up being more important than the results.
First, all of these experiments were done on porcelain. Three different
porcelains. Fired in cone 10 reduction.
A white glaze was applied first. I tried three different matte white
glazes.
(lun chun white, buttermilk, black mountain white)
Then, seven different glazes on top. (Separately, of course)
Some results were similar, as two of the porcelains appear to be the same
color of white. Third porcelain from Sheffield, slightly gray in color
Was totally different. 1234 Black on top of lun chun white produced this
amazing smoky, bluish glaze. It breaks beautifully. The lun chun white
developed a sort of blue cast in the areas where the black was not applied=
.
My limited stoneware tests have been on 5 different clay bodies from High
Water and fired in cone 10 reduction, wood, and salt. Same glaze for all.
All totally different.
So, each time I try out a new clay body, the first thing that I do is make
test tiles/pieces. It is amazing to me how different the Sheffield
porcelain was in firing from Standard and Miller porcelain.
Anyway, bottom line I suppose is that these tiny little differences make bi=
g
differences.
So, it is test to the 100th power. :)
Beth
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