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Tagged:  Cone 6 Glaze Recipes




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Recoloring a Classic: Trying New Colorants in a Classic Pottery Glaze Recipe Can Lead to Some Great Results

Posted On February 26, 2014 27 Comments

It’s hard not to love a good old classic glaze like a Shino or a Celadon. But sometimes you just need a change. Deanna Ranlett pushes experimentation with her students to make glaze mixing fun as well as educational. In today’s post, Deanna explains a recent experimentation on the classic glaze Falls Creek Shino. In addition to sharing how they conducted the experiment, Deanna shares the recipes and results. - 

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Oil Spot and Hare’s Fur Glazes: Demystifying Classic Ceramic Glazes

Posted On January 14, 2013 4 Comments

Oil spot and hare’s fur glazes are beautiful and fascinating. In a nutshell, they are high-iron glazes that are applied in thick layers, which bubble up through one another and generate patterns ranging from metallic crystals to running streaks. These effects resemble, you guessed it, oil spots or the striated patterns in the fur of a rabbit. Of course, the explanation for how and why this happens is far more complex than that, but I’ll leave that to the experts. In today’s post, glaze expert John Britt explains the science behind these lovely glaze effects and shares a number of oil spot and hare’s fur glaze recipes.


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Technofile: Demystifying Chrome Oxide for Fantastic Ceramic Glaze Color

Posted On October 10, 2012 9 Comments

Chrome oxide or Cr2O3 is a common studio material that can help produce beautiful colors in the kiln. But it can be quite challenging to perfect. So, in the November 2012 Technofile department in  Ceramics Monthly, John Britt, one of our expert glaze guys, gives the low down on how to get chrome right. As you’ll see, with a little know-how, chrome can produce great results. In today’s post, I am sharing an excerpt from that Technofile article and a few great cone 6 chrome glaze recipes.

 

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Crazy Beautiful Crazing: Uncovering the Mysteries of Snowflake Crackle Glazes

Posted On September 21, 2011 35 Comments

I have been messing around with crazing as a deliberate decorative effect lately. But the crackle surfaces I have been creating pale in comparison to the Snowflake Crackle glazes John Britt writes about in the November 2011 issue of Ceramics Monthly. As you can see here, these crackled surfaces are pretty spectacular. Today, I am giving you all a sneak peek at that article, which includes lots of snowflake crackle glaze recipes!

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A High-Fire Reduction Potter Develops Great Glaze Recipes for Oxidation Firing to Cone 6 in Electric Kilns

Posted On March 21, 2011 22 Comments

With an initial impetus in the energy crisis of the 1970s, Jayne Shatz began exploring options for translating her high-fire reduction glazes into cone 6 oxidation glazes for electric kiln firing. While the exact results were not possible, she learned a lot about glazes and came up with some nice results. In today’s post, an excerpt from the second edition of our free download Techniques and Tips for Electric Kilns: Inspiration, Instruction and Glaze Recipes for Electric Kiln Firing, Jayne passes those recipes on to you.

Fig.4 Place the platter on a foam rubber chuck on the wheel and create the center spiral as the wheel turns.

Scratching the Surface: A Guide to Sgraffito

Posted On May 10, 2010 10 Comments

Three Great Pottery Decorating Techniques: A Guide to Sgraffito, How to Make and Use Terra Sigillata, and Creating and Coloring Highly Textured Surfaces is available today, and to give you a taste of what you’ll find inside, I am posting an excerpt about sgraffito. In it, Wayne Bates shares some great insights into this fun technique.

The tiles above are examples of a single glaze base (Turner’s White) used to obtain a variety of colors by adding coloring oxides. The top row was fired to cone 6 electric and the bottom row to cone 10 reduction in a gas kiln.

It Slices, It Dices! Some Simple Glaze Tests Reveal a Ceramic Glaze That Can Do it All (well, almost)

Posted On October 26, 2009 11 Comments

Kristina Bogdanov, who teaches at Ohio Wesleyan College in Delaware, Ohio, was intrigued when she realized that one of the class glazes seemed to fire well at cone 10 reduction in a gas kiln, cone 6 in an electric kiln, and cone 9 reduction in a soda kiln without any change in the recipe. So she ran the glaze through a battery of tests to see just how versatile it was. Today, in an excerpt from the 2010 Buyers Guide for Ceramic Arts, Kristina explains her testing process and the results.