CP Dunbar on sat 4 oct 97
i would greatly appreciate any good cone 6 glazes that you may have
i fire oxidation to cone 6 now w. an occasional cone 5 for
floating blue. tonight i am drinking from an oxidized mug that
i recently purchased. it is one of the few ox pieces that i have seen
and like even though i fire to 6. i guess it is the rougher texture
that i like on some high fire pieces.
i believe that for many of us, we love our work enough to want it to be
different from a piece of simple "ceramics that aunt edna made from her
2 week course " you know what else ? it is a labor of love, no matter
how much other's boast. you cannot be paid enough at todays going rates
reimburse you for a great pitcher. but, "it's alright"...... to quote
i believe more cone 6 glazes are showing up though, and appreciate tham
more than your average bear.
if you would not mind sharing some i would thank you.
"And she shall have music wherever my Lady goes."
Beth Williams on wed 15 oct 97
Looking for a good celadon glaze that doesn't craze. Appreciate help.
Mike Bailey on thu 26 aug 99
In message <email@example.com>, Josh
>Do you have any chun recipes for cone 6 oxidation that you would like
>I'm working on a glaze that's giving me a headache. I can't seem to
>figure out how to make the blue cover more area. It goes lavender
>where thick and blue where its super thick. Iron is the only colorant.
> I did get it to go blue once actually. Over a chocolate-brown red
>clay that I dug at my house.
I agree that this is a difficult glaze for ^6 oxidation.
The best I've come up with is 'chun' look alikes using titanium dioxide.
Here's three recipes for you.
1 2 3
Soda feldspar 45.0 45.0 80.0
China clay 5.0 5.0
bentonite 2.0 2.0
Lithium carb 2.0 2.0 3.0 (hazard label applies)
Whiting 17.0 17.0
Zinc ox. 5.0 5.0 3.0
Quartz 24.0 24.0 9.0 (hazard label applies)
Titanium dioxide 5.0 5.0 5.0
Cobalt carb. 0.1
Copper carb. 0.6
No 1 gives a light green 'chun' using a small amount of copper
No 2 gives a light blue 'chun' using a small amount of cobalt oxide
No 3 is perhaps the most satisfying in that it does pick up the colour
from iron in the clay and is best used over an iron bearing clay. Like
all chun glazes this is low in alumina but in practice it doesn't settle
out too badly although it is a bit powdery once on the pot.
Ron Roy et al may well criticise the use of the Lithium and, if you are
concerned about it, you could either leave it out altogether- or leave
it out and increase the Zinc ox by that amount.
I'd be interested to know how they come out.
>Do You Yahoo!?
>Bid and sell for free at http://auctions.yahoo.com
Emily Ostroski on thu 22 jan 04
I'm experimenting with cone 6 oxidation galzes this semester. If
you have any good glazes to recommend I'll mix 'em and try them at school
and report back.
Additionally, I'm woking with a cone 10 clay body for gas reduction
firings, so if you have any interesting cone 10 reduscion glazes send
them my way.
thanks! peace Em (at U.Hart)
Linda Pahl on fri 23 jan 04
> From: Emily Ostroski
> Date: Thu Jan 22, 2004 12:24:52 PM America/New_York
> Subject: cone 6
> Hi peeps!
> I'm experimenting with cone 6 oxidation galzes this semester. If
> you have any good glazes to recommend I'll mix 'em and try them at
> and report back.
> Additionally, I'm woking with a cone 10 clay body for gas reduction
> firings, so if you have any interesting cone 10 reduscion glazes send
> them my way.
> thanks! peace Em (at U.Hart)
Hi, there, Em.
I am also currently experimenting with cone 6 oxidation glazes. I've
recently created a website showing the results of my test along with
the recipes. To see them, go to:
Linda Pahl, Kew Gardens, New York
(I throw on my wheel in my hall closet; the only possible solution in
this tiny apartment!)
May Luk on mon 26 jan 04
I got this recipe from the archive. I don't know if it's good or not-still
working on it. I got a shiny to satiny white when thick and burnt orange
[pumpkin] where thin. Obviously my unity formula is different from listed
below. I have not worked out why it turned orange. Would like to see what
other comes up with.
Glaze name: Bird Matt
Color: silver white
Firing: Ox. or Red.
Recipe: Percent Batch
Nepheline Syenite 71.46 357.3
Dolomite 23.71 118.6
Ball Clay 4.83 24.1
Totals: 100.00 % 500.0 Gm
Tin Oxide 9.55 47.8
Bentonite 2.81 14.1
> ClayArt Listserv recipe <
If you find this glaze useful, please consider submitting it to the
GlazeBase project with full documentation. Use one of the GlazeBase
submission formats available on the CeramicsWeb web page.
comments: Ellen, about l978 Ruth Duckworth used a glaze in Banff that was
it with 5% Rutile or Ilemanite. I loved the glaze. Satiny silver-white, not
submitted by: ELKE BLODGETT
Unity Formula for Bird Matt:
0.086 K2O 0.422 Al2O3 1.844 SiO2
0.271 Na2O 0.002 TiO2
0.343 CaO 4.4:1 Si:Al Ratio
52.72 % SiO2
20.46 % Al2O3
3.85 % K2O
7.99 % Na2O
9.14 % CaO
5.76 % MgO
0.10 % TiO2
mel jacobson on sun 25 sep 05
cone 6 is just a number.
it is not a concept.
what is cone 06?
it is not what temp you fire.
it is what you do with the clay at that temp.
i would think we are getting over the `good old boy` concept
of `hell, i got big balls and fire a wood kiln. all other potters
that do not fire like me are pissants`.
why not cone 10 oxidize?
why not cone 3 oxidize in a gas kiln?
so much depends on your own idea of
aesthetics of clay materials.
i love runny melted, stick to the shelf glazes with
dark brown clay. cone 11.
it is what i like. no one else on the planet has to accept
that or even care what i do. but, i care what i do.
i have said this many times:
if mr. hamada had been put in a prison, had only a small electric
kiln that fired to cone 06, had some chemicals and clay....no wheel, just
i bet he would have made some damn fine pots.
and i totally agree with lilly. there are so damn many recipes, ideas
and concepts about `shino` it makes our head spin.
it all depends on what you are talking about.
old seto shino from japan.
american shino of jenny wirt.
malcolm davis shino.
or the three hundred variations of those recipes and ideas.
and then the 7,000 derivatives of those ideas.
and it still comes down to about three glazes. couple of temps and
some flux material.
make something of value with the kiln you have.
try and please yourself...not some judge in a show you
are hoping to get in.
electric, gas, wood, paper, coal, oil, dead grass and twigs.
just fuel. potters make pots with all the above. some don't
even have a kiln.
just a hole in the ground.
for gail's year book.
mel jacobson on fri 24 feb 06
no matter what the discussion, no matter
right or wrong. deep thoughts and research.
the work of those doing cone 6 research has
think of what electric firing potters had
10 years ago. think of the negative feeling
potters had about firing `only` with electric kilns.
that is changing fast. as it should.
if you fire an electric kiln, stand up and be counted
as a potter.
there is no better or worse, no snob can
push you around.
the work depends on the quality of the potter,
not the kiln that is used. or temp you fire.
thanks to all that have helped make this possible.
it is an ongoing struggle.
"Luck is prepaid."