Bloomfield, Linda (Potter) - The Handbook of Glaze Recipes - 2018 - London - Bloomsbury Visual Arts

NDBOOK OF
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THE HANDBOOKOF
GLAZE RECIPES
THE HANDBOOKOF
GLAZE RECIPES
Linda Bloomfield
ish 43, ARS dey RTs lp OM Pen ees

LONDON + OXFORD + NEW YORK + NEW DELHI * SYDNEY
FRONTISPIECE Heather Knight, Scallop Bowls, porcelain, 9 x 4cm
(3.5 x 1.5in), 2011. Photo: Heather Knight.
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First published by Bloomsbury Publishing in 2014

Reprinted 2016, 2017, 2018 twice
© Linda Bloomfield 2014
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and Patents Act, 1988, to be identified as Author of this work.
All rights reserved. No part of this publication may be reproduced or

transmitted in any form or by any means - electronic or mechanical,
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and from the US Library of Congress.
ISBN: HB: 978-1-912217-48-9
Commissioning editor: Kate Sherington

Project editor: Alison Stace
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Page design and layouts: Susan McIntyre
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Contents
Acknowledgements
Introduction
SECTION 1: GLAZING — AN OVERVIEW

Glaze materials: alumina, silica, feldspars, fluxes, frits, wood ash
The science of glazes
The science of colour in glazes
Colouring oxides
Mixing glazes: weighing, sieving
Applying glazes: pouring, dipping, brushing
Health and safety
Testing glazes: test tiles, line blends
Adjusting glazes Ww
wow
Firing: oxidation, reduction

Correcting glaze faults: crazing, shivering, crawling, pinholes, blisters a)
=CO
FP
Nn
WHY
SECTION 2: GLAZE RECIPES

1: Stoneware/porcelain high-fire glazes (cone 9-10)
Cone 9 matt glazes 1280°C (2336°F)
Cone 9-10 shiny glazes 1280°C (2336°F)
Oxidised stoneware
Reduced stoneware
Celadon glaze tests — cone 9, 1280°C (2336°F) by Mirka Golden-Hann
Copper turquoise/red glaze tests — cone 9, 1280°C (2336°F) by Mirka Golden-Hann
Glazes and slips for soda firing
2: Stoneware/porcelain mid-temperature-range glazes (cone 6-8)

Cone 6-8 magnesium matt glazes 1200-1260°C (2192-2300°F)
Oxidised stoneware
Reduced stoneware
Cone 6-8 matt glazes 1200-1260°C (2192-2300°F)
Oxidised stoneware
Reduced stoneware
Cone 6-8 shiny glazes 1200-1260°C (2192-2300°F)
Oxidised stoneware 96
Reduced stoneware
6 THE HANDBOOK OF GLAZE RECIPES
100
3: Earthenware glazes (cone 06-03)
101
Cone 04 matt glazes 1060-1100°C (1940-2012°F)
104
Cone 06-03 shiny glazes 990-1100°C (1814=2012°F)
4: Raku low-temperature glazes (cone 09) iu!
5: Clay body recipes 122

Egyptian paste IW2?
Clay body recipes (earthenware, bone china, porcelain, stoneware) 125
Anagama clays for wood-firing (cone 10-14) 1300-1400°C (2372-2552°F) 128
Glossary Lay
Appendix 1: Ceramic materials list 134
Appendix 2: UK and US materials conversion chart 136
Appendix 3: Orton pyrometric cone temperatures 7,
Appendix 4: Suppliers 138
Bibliography 141
Index 142
Gwyn Hanssen Pigott, Alone, yellow-white translucent porcelain, wood-fired

Photo: Brian Hand, 2008
Acknowledgements
The basis for this book is my notebook full of the glaze recipes I have tried since I
bought my first kiln in 1998. Many of the glazes come either from books or from
other potters whom I would like to thank for sharing their recipes. In particular,
I would like to thank Mirka Golden-Hann, artist-in-residence at Salisbury Arts
Centre, for the Egyptian paste, celadon and copper-red tests, Gill Tennant-Eyles
for raku tests, and Helen Brown for stoneware glaze tests (both facilitated by David
Jones of Wolverhampton University).
All photos are by Henry Bloomfield unless otherwise stated.
Linda Bloomfield, nesting pouring bowls, porcelain, dia: 20cm (8in).

INTRODUCTION
The earliest glazes were discovered by the ancient Egyptians, who mixed sand and
soluble sodium salts to make turquoise-glazed beads and amulets. Higher-firing
stoneware glazes were discovered when Chinese potters found that wood ash landing
on pots during firing melted to form a runny glaze. This ash glaze consisted of the
minerals in the ash - silica, calcium, sodium and potassium — which were left behind
when the carbon had burned away.
Glaze is made from three essential components: silica, the glass former; fluxes,
which melt the silica at a temperature attainable in a kiln; and alumina, a stabiliser
or stiffener, which prevents the molten glaze from running off the pot. There
are many kinds of flux for use at various temperatures. Low-temperature fluxes
include lead, sodium and boron frits. Higher-temperature fluxes include feldspar,
containing sodium, potassium and sometimes calcium, which strengthens and
stabilizes the glaze. Secondary fluxes such as magnesium (present in talc and
dolomite) or barium carbonate can be added to produce matt surfaces. Alumina
is usually added to glazes in the form of clay. It helps stiffen the glaze and makes it
more viscous when melted.
Mirka Golden-Hann, interactive colour play, porcelain bowls installation, Salisbury Arts Centre,
2012. Photo: by the artist.
SECTION 1: GLAZING — AN OVERVIEW
Glaze materials: alumina, silica, feldspars,

fluxes, frits, wood ash
Glazes usually consist of feldspar or frit to which is added some silica and clay.
Feldspars contain sodium, potassium, calcium, alumina and silica, and are derived
from weathered rocks such as granite. Feldspars are named potash feldspar if
high in potassium or soda feldspar if higher in sodium, though they usually
contain a mixture of both. Nepheline syenite is a feldspar very high in sodium
which can nevertheless produce matt glazes as it is also high in alumina. Some
feldspars, including petalite and spodumene, contain lithium, an active flux useful
in counteracting crazing.
Silica is available in the form of powdered quartz or flint, ground to 300s mesh size.
It is also present in other materials including feldspar, clay, talc and wollastonite.
Clay can be added in the form of china clay, ball clay, red earthenware clay or
bentonite, and is useful for suspending the glaze particles in water and adding
strength to the raw glaze.
Secondary fluxes can be added to a glaze to increase the gloss (zinc oxide, borax
frit) or make the glaze matt (whiting, talc, dolomite, barium carbonate). Calcium
is an important ingredient of glazes, a flux which also strengthens and stabilizes
the glaze. Calcium is found in whiting, limestone, wollastonite and dolomite.
Magnesium, present in magnesium carbonate, talc and dolomite, is used to make
satin matt glazes. While calcium and magnesium tend to mute glaze colours,
barium carbonate can be used to make bright turquoise and blue matt glazes.
Barium is toxic and can be replaced by strontium carbonate, which will give
similar effects in glazes.
Wood and grass ash can be used in glazes as these contain silica and fluxes as
well as other minerals including phosphorus and iron. Wood ash can be washed
to remove soluble alkalis and sieved through a 60s mesh sieve before use. Some
potters use locally found clays or rocks in their glazes. These must be crushed and
ground in a mortar and pestle or milled in a ball mill before use in a glaze.
opposite Linda Bloomfield glazing a large bowl.
11
Joanna Howells, Pillow Box, Chun glaze on porcelain, ht: 14cm (5%in), 2013. Photo Anthony Cutler.
Bone ash or calcium phosphate, which is made from calcined cattle bones, adds
streaking and opalescence to glazes. Large amounts of bone ash (more than 10%)
can cause blistering of the glaze. Bone ash is a major constituent of bone china.
Lower-temperature glaze materials include frits, made by melting together fluxes,

silica and alumina, then grinding the resulting glass to a powder. The most common
frits include lead bisilicate and borax (sodium borate) frit. These are used in low-
temperature glazes, where they need the addition of clay and sometimes silica to
make a glaze.
Zinc oxide is used in crystalline glazes but has an adverse effect on some colouring
oxides, turning chromium oxide brow a.
12
The science of glazes
In the past, glazes were concocted by trial and error, by mixing various materials and
firing to see what happened. In the last century, the chemistry and structure ofglazes
has become more understood.
Most ceramic materials in the glaze melt are oxides (carbonates change to oxides
during firing and give off carbon dioxide). The most important ingredient is the
glass former, silicon dioxide, also known as silica or SiO,. In crystals such as quartz,
silica molecules take the form of tetrahedra lined up in rows. Each tetrahedron
has a silicon atom in the centre surrounded by four oxygen atoms, one at each
corner. Each oxygen atom is shared by two silicon atoms from adjacent tetrahdra,
hence the formula SiO,. When a glass or glaze melts, the silica molecules become
disordered, although they are still linked together in a three-dimensional network
of chains.
Silicon dioxide tetrahedron. The

grey ball is a silicon atom, the red
ones are oxygen atoms. When
they are linked together in a
quartz crystal, each oxygen atom
is shared by two silicon atoms,
giving the overall formula SiO.,
The behavior of glaze materials on melting depends on their chemistry and whether
they are acidic or alkaline. Non-metal oxides such as silica are acidic and have
the general chemical formula RO, (where R is the element). Most fluxes are alkali
metals, having the formula R,O (sodium, potassium) or RO (calcium, magnesium).
Alumina is amphoteric, neither acid nor alkaline, and has the formula ALOr Ihe
number of oxygen atoms bonded to each metal atom affects the way the metal oxide
reacts with the silica chains in the glaze.
In order to melt silica in a kiln, a reactive flux such as sodium oxide (Na,O) must
be added. When sodium is heated with silica, it reacts with the oxygen, breaks the
silica chains and causes the glaze to melt. However, sodium and silica alone make
sodium silicate, which is soluble in water and therefore not suitable as a glaze.
1/53
©. @. @.. e... ©,
This shows the structure of a glass or glaze. The silica tetrahedra are joined in a three-dimensional
network. The sodium (purple) atoms break up the chains, the calcium (green) atoms act as a
bridge between two chains and the aluminium (brown) cross-links the chains.
A third ingredient, calcium oxide (CaO) must be added to make a durable glass.
Calcium forms a bridge between two oxygen atoms in the silica chain, making the
glass stronger and resistant to attack by acids. However, most glasses are too runny
when melted to use as a glaze, and some alumina (Al,O,) must also be added.
The alumina cross-links the silica chains and stiffens the glaze. Alumina is added
in the form of powdered clay, which also helps to suspend the glaze ingredients
in water.
THE SCIENCE OF COLOUR IN GLAZES

Many colours in glazes are produced by the transition metal elements listed on pp.
16-17, which include titanium, vanadium, chromium, manganese, iron, cobalt,
nickel and copper. These metals have several oxidation states, each of which give
rise to different coloured oxides. For example, ferric oxide (FeO) is black and ferrous
oxide (Fe,O,) is rust red. The colours change when fired in a glaze as the oxides
interact with the silica and fluxes in the glaze. The colour also depends on whether
the glaze is fired in oxidation or reduction.
The transition metal atoms absorb particular wavelengths oflight. The colour we
see is the remaining light, which has not been absorbed by the metal atom. All
atoms have electrons spinning around the nucleus in orbitals. Each orbital can
only contain a sj ‘number of electrons and the lowest-energy orbitals are
THE SCIENCE OF GLAZES 15
&
e¢
ee ee
This is an image of asodium (Na)
atom. It has 12 neutrons, 11 protons «
and 11 electrons spinning in three Ae
orbitals around the nucleus. Only the & e
electron in the outer orbital takes
part in chemical bonding with other
atoms such as oxygen.
closest to the nucleus. In transition metals, it is possible for electrons to jump to

a higher-energy orbital by absorbing energy from light. The wavelength of light
absorbed corresponds to the energy needed to jump from a low-energy orbital to
a higher one.
When metal atoms bond with oxygen, the electron orbitals change from spherical to
hybrid shapes and the molecule starts to look more like a blackberry on an atomic
level. The electric field around the metal atom is distorted and this alters the colour
of light absorbed. The colour will vary, depending on the number of oxygen atoms
and the shape of the electron cloud around the metal atom. Metal atoms can be in
fourfold tetrahedral coordination or sixfold octahedral coordination in a glaze.
In glazes, the colouring oxides can bond with the oxygen in the silica chains and
are also affected by the surrounding atoms such as sodium and aluminium. For
example, the colour of copper oxide in a sodium-rich glass is turquoise. In a glaze
however, the addition of alumina can cause copper oxide to show a green colour
instead. Another example is in pink glazes, or more specifically chrome-tin pinks.
Chromium oxide is usually green, but when combined with tin in the right glaze
base, the colour changes to pink. The colour will only be pink if the glaze is high
in calcium and contains no zinc or magnesium. The chromium bonds with the tin,
calcium and silica in the glaze to give a pink compound.
When transition metal oxides dissolve in the melted glaze, the resulting coloured
glaze is transparent. However, most commercial stains are prepared so that they
remain unchanged in colour when melted in a glaze. They are highly refractory and
remain suspended as small particles in the glaze, causing it to become opaque.
Colouring oxides
include cobalt,
Colouring oxides can be added to make coloured glazes. These oxides
change colour during
copper, chromium, manganese, nickel and iron oxides. They
whether the
firing according to the level of oxygen available in the kiln, depending on
ies (usually
kiln is electric or fuel-burning. They are added to glazes in small quantit
thoroug hly to avoid speckli ng.
less than 5%), though the glaze must be sieved
Cobalt
Cobalt oxide and carbonate produce a bright blue in glazes. Only a small amount
(0.1-2%) is required to give a strong blue. Cobalt can produce grey in combination
with nickel and purple with manganese.
Copper
Copper oxide and carbonate produce green or turquoise in oxidation or red in
reduction (0.5-3%).
Chromium
Chromium oxide produces green in oxidation and reduction (0.2-1%). It will
produce pink or maroon in combination with tin oxide (0.1-0.5% to 5% tin). If used
in glazes containing zinc oxide, it turns brown. Chromium oxide is toxic.
Shosen, stoneware bowls, made in Japan, 1990s. Coloured crackle glazes
16
COLOURING OXIDES 17
Iron
Iron oxide is used to make tan yellow or rust brown in oxidation and celadon blue
or tenmoku black in reduction. It can be used in quantities from 0.5 to 15%. Yellow
ochre is a form of iron oxide. Iron oxide is present in many locally sourced ceramic
materials such as red earthenware clay.
Rutile and ilmenite

Rutile and ilmenite contain titanium oxide and varying amounts ofiron oxide. Rutile
contains up to about 15% iron oxide, while ilmenite is darker, containing 50% iron
oxide. Used in quantities between 2 and 10%, they promote streaking and mottled
effects in glazes.
Manganese
Manganese dioxide and carbonate produce pink-brown or dark brown in glazes
(1-15%). Manganese and a small amount ofcobalt give purple. Manganese is toxic,
particularly its firing fumes.
Nickel
Nickel oxide is used to moderate other colours but will also produce bright pink
and purple in barium-zinc glazes. Only a small amount (0.1-2%) is required. Nickel
oxide is toxic.
Vanadium
Vanadium pentoxide can be used in dry matt glazes (2-8%) to give a mottled
yellow colour. In transparent glazes it is yellow, green or muddy brown. Vanadium
pentoxide is highly toxic.
Rare earth oxides

The rare earth oxides neodymium, praseodymium and erbium can be used in glazes
to give pale lavender, pale green and pink. They are weak colourants, so 5-10% is
needed in the glaze.
Opacifiers
Opaque white glazes can be made using tin oxide or zirconium silicate. These opacify
the glaze when used in quantities of between 5 and 15%.
Stains
Commercial stains are made using colouring oxides which have been stabilized by
being heated together with silica and opacifiers. They do not change on firing but
often lack depth of colour. They are used to make bright red or yellow glazes, which
cannot be made using colouring oxides.
Mixing glazes: weighing, sieving
half full of water.
Glaze materials should be weighed carefully and added to a bucket
will prevent the feldspar
If the less dense ingredients such as clay are added first, they
atic in this
from settling in a hard layer on the bottom; materials which are problem
be avoided by
respect include soda feldspar and nepheline syenite. The problem can
ion can
using a recipe with sufficient clay. If the recipe is low in clay, glaze suspens
be improved by adding a few percent bentonite, or floccula ting with a small amount
te should be
of Epsom salts (magnesium sulphate) dissolved in warm water. Bentoni
mixed into the other dry ingredients before being added to water, otherwise it may
form lumps.
After all the ingredients have been added, they should be left to soak for a few hours
before being sieved three times through an 80s mesh sieve. A rubber spatula or brush
can be used to push the slurry through the sieve. Coloured glazes may need sieving
again through a 100s or 120s mesh sieve to disperse any specks of colour.
tier e
Weighing glaze materia!s on a triple-beam balance.
18
MIXING GLAZES: WEIGHING, SIEVING 19
The glaze may then need to be left to settle overnight so that excess water can be
removed from the top. Glaze thickness can be assessed by dipping a test piece
and measuring the thickness with a pin. Most glazes are applied to the thickness
of about a millimeter (1/2 inch) or slightly thicker. Once the consistency of the
glaze is correct, it can be kept constant by weighing a fixed volume of glaze (such
as a pint/500ml) and recording the weight. When a new batch of glaze is made,
the thickness can be corrected easily by weighing and removing or adding water.
Some glazes may seem thick at first, but after a few days left standing may
become thin with the result that water may need to be removed. This occurs
when soluble substances in the glaze materials dissolve in water and cause the
glaze to deflocculate.
Sieving a glaze.
Applying glazes: pouring, dipping, brushing
coating
Many studio potters apply glazes by dipping, the easiest way to apply an even
and
of glaze. The pot is held between finger and thumb, or with glazing tongs,
dipped quickly into the bucket of glaze before being set down on a clean surface.
Any fingermarks can be quickly touched up before the glaze dries. When using matt
flat
glazes, which are viscous when melted, make sure to level drips or runs of glaze
with a knife. The glaze must be scraped and sponged from the base, or footring,
before the pot can be placed in the kiln. When using runny glazes, a 5-10mm
(4-%in) margin at the bottom of the pot should be cleaned of glaze to avoid drips
sticking the pot to the kiln shelf. Earthenware pots are sometimes glazed all over
and supported on stilts during firing. The stilts leave small scars, which need to be
ground down after firing. The kiln shelf should be coated with batt wash to soak up
glaze drips and prevent them sticking to the batt.
Glazes can also be poured or brushed on. Large pots can be held upside down over
a bucket, or placed on a wheel and have glaze poured over them. Very thin pots can
be glazed by pouring the inside and leaving it to dry overnight, then dipping the
outside. Potters often use Chinese brushes or wide Japanese hake brushes to apply
glazes. CMC or gum arabic added to the glaze helps it to flow off the brush and
adhere to the pot. Several coats of glaze are brushed on to build up an even coating.
Pots can be re-glazed after firing, but should be heated up first and the glaze brushed
or sprayed on.
Dipping a mug into glaze.
20
APPLYING GLAZES: POURING, DIPPING, BRUSHING 21
Pouring glaze onto the outside of a bowl.
Spraying enables very precise control of glaze application, but a compressor, spray
gun and spray booth with extractor fan are required with this method. The pot is
placed on a banding wheel and sprayed evenly all over in several thin coats.
Health and safety
when
Silica dust is a health hazard so a respirator mask should always be worn
containi ng silica include quartz, flint, clay, frit,
weighing glaze ingredients. Materials
should be kept in lidded container s.
feldspar, talc and wollastonite. Glaze materials
Work surfaces and floors should be sponged or mopped frequentl y, and aprons,
overalls and towels washed to avoid build-up of clay dust. Food and drink should
not be consumed in the studio.
Lead and barium carbonate are toxic and should be handled carefully. Toxic
materials should be disposed of in landfill, not washed down the drain. By law, glazes
on domestic ware should not leach lead or cadmium (the latter is an ingredient of
some bright yellow and red glazes). Laboratories where leach testing of glazes is
carried out are listed in Appendix 4.
Many of the colouring oxides are toxic, particularly chromium and nickel oxides.
Manganese dioxide and vanadium pentoxide are very toxic if dust or firing fumes are
inhaled. Kiln rooms should be well ventilated and equipped with a fire extinguisher.
Water-soluble colourants such as nitrates, chlorides or sulphates are not usually used
by potters as they are more toxic than the insoluble oxides and can be absorbed
through cuts or abrasions in the skin. Rubber or latex gloves can be worn when
mixing and using glazes, particularly ash glazes which contain soluble alkalis.
22
Testing glazes: test tiles, line blends
Glaze recipes should always be tested on a tile before being used on a batch of pots.
Test tiles can be made from slabs, extrusions or a thrown pot cut into sections. The
shape ofthe test piece should be similar to the shape ofthe pots being made, whether
flat plates or tall vessels. Test tiles can be numbered on the back, either stamped with
a number or painted with a mixture of iron oxide and manganese dioxide.
In a plastic pot, make up a small amount of glaze (100g/3%oz) and dip a tile into
it. The thickness can be varied across the tile by dipping two thirds of the tile twice
and a third of the tile three times. The glaze batch can then be scaled up to a larger
amount — for example, 7.5kg (16%lb) will fill a 10-litre (2% gal.) bucket.
When adding colouring oxides to a glaze, make a series of tests as you gradually
increase the amount of oxide. A series of glaze tests with, for example, 0.5, 1.0, 1.5
and 2g of colouring oxide is called a line blend (see celadon line blends on p.43). The
quickest way to do a line blend is to add a small amount of oxide to 100g (dry weight)
base glaze, mix with water, sieve the glaze and dip a test tile, then add more colouring
oxide and repeat. The precise tone of colour required can be found by selecting the
most suitable test in the line blend, or interpolating between the closest two.
A cross blend is carried out using two different colouring oxides in varying
proportions. A quantity of base glaze (200g) is mixed with water, then split into
two equal-sized containers. A small amount of colouring oxide is added to each
batch — for example, copper carbonate to one batch, cobalt carbonate to the other.
Once each batch is mixed and sieved, they can be measured out in small amounts by
wet volume, using a syringe or measuring cylinder. The two different colour glazes
can then be blended in various ratios: 90:10, 80:20, 70:30, 60:40, 50:50 40:60, 30:70,
20:80, 10:90.
A triaxial blend can be made in a similar way but using three variable additions, for
example red stain, yellow stain and vanadium blue stain.
Records of glaze tests should be kept in a notebook, with numbered recipes and a
correspondingly numbered tub ofglaze and test tile.
23
Adjusting glazes
amount of clay in
To make glazes more shiny, or to lower the firing temperature, the
line glazes are made
the recipe can be decreased or more flux can be added. Crystal
m dioxide
by reducing the clay content to below 5% and adding zinc oxide and titaniu
ge the
in order to seed crystals. This type of glaze is cooled very slowly to encoura
clay content may not be as durable as those
growth of crystals. Glazes with very low
with more than 5% clay. Crystallization can also be encour aged by adding calcium
or magnesium to a glaze and cooling slowly.
If the glaze is too runny, it can be applied more thinly or fired to a lower temperature,
or it can be adjusted to fire higher by adding silica and clay. Glazes can be made
matt by adding excess clay, whiting, dolomite, talc, barium or strontium carbonate.
In general, colours will be muted in matt glazes, with the exception of barium and
strontium matts.
Streaking and opalescence can be encouraged using rutile, titanium, calcium borate
frit or bone ash.
Linda Bloomfield, porcelain bowls, 2012. Runny, transparent, coloured glazes, satin matt
translucent on the outside, dia: 14cm (5in)
24
Firing: oxidation, reduction
Glazes are usually applied to pots which have been biscuit-fired to around 1000°C
(1832°F). This makes the pots easier to handle during glazing. It is possible to apply
glazes to leatherhard or bone-dry pots. This is called raw glazing.
Earthenware is usually fired to around 1060-1150°C (1940-2102°F). Raku is fired to

a slightly lower temperature, around 900°C (1652°F). Stoneware and porcelain are
fired to higher temperatures, above 1200°C (2192°F). In electric kilns, temperatures
of 1200-1260°C (2192-2300°F) can be achieved, and many potters prefer to work in
this mid-range to increase the life of the kiln elements. In gas and wood kilns, higher
temperatures, over 1300°C (2372°F), are possible.
Glazes fired with sufficient air present, such as in an electric kiln, are fired in
‘oxidation. If the air intake is limited in a fuel-burning kiln, oxygen for combustion
is taken from the glaze and clay body. This is termed ‘reduction’ and can bring
enriching effects to glazes. In raku firing, the pots are removed from the kiln while
hot and covered in sawdust in order to reduce the glaze. Crackle glazes are often
used, with the smoke from the sawdust emphasising the craze lines.
Firing temperature can be measured using pyrometric cones, slender pyramids of

glaze material which bend over at certain kiln temperatures. These measure heat
work, which depends on time as well as temperature. A cone will bend over at a lower
temperature if fired more slowly. A soak for 15-30 minutes at the top temperature
helps to even out the temperature in the kiln. Slow cooling of the kiln can help the
growth of crystals in matt and crystalline glazes.
Orton cones before and after firing.
25
Correcting glaze faults: crazing, shivering,
crawling, pinholes, blisters
Hannah McAndrew, bubbles and crazing on earthenware glaze tests. (Left) White slip-trailed on
black slip; (right) black slip-trailed on white slip. The bubbles are caused by gases emitted during
firing from the oxides colouring the slip. Photo: courtesy ofartist.
Crazing
Crazing occurs when the glaze is too small for the clay body. The glaze contracts at a
higher rate than the clay body on cooling, and a network of fine cracks forms. When
used as a decorative effect this is called crackle, but it is undesirable on earthenware
as it allows water to seep through the porous clay body. To correct crazing, silica can
be added to the glaze in 5% increments. If this causes the glaze to become underfired,
try adding low-expansion glaze fluxes such as talc or calcium borate frit instead.
Shivering
Shivering is the opposite ofcrazing and occurs when the glaze is too big for the clay
body. Stresses build up at the edges of pots, and shards of glaze flake off at the rims.
If the stress is too high it can cause the pot to crack in two. To correct shivering,
the
silica in the glaze can be reduced or a high-expansion flux such as feldspar
or high-
alkaline frit can be added to the glaze.
26
CORRECTING GLAZE FAULTS 27
Crawling
Crawling is often caused by high surface tension in the molten glaze, which rolls
into beads with bare patches in between. Certain glaze materials can cause this,
including alumina, zirconium and tin oxide. Crawling is also caused by shrinkage of
the raw glaze on drying. This happens when the glaze is applied too thickly, or if it
contains a large amount of clay, zinc oxide or magnesium carbonate. Calcined china
clay (molochite) can be used instead of china clay to reduce shrinkage. Biscuit ware
should be free of dust; it may need to be sponged before glazing. If pots are not left
to dry thoroughly after glazing and before firing, the steam produced on firing may
cause areas of glaze to lift off.
Pinholes
Pinholes sometimes occur on glazing turned, grogged clay. Particles of grog
dislodged by the turning tool leave small pits which the glaze does not fill. The
turned areas can be smoothed with a sponge after turning to avoid pinholes.
Certain glaze materials including zinc oxide can cause pinholes, particularly in
viscous matt glazes.
Blisters
Blisters occur if a glaze is overfired. Some fluxes, such as sodium borate (in borax frit),
start to bubble and give off gas above 1200°C (2192°F). Bone ash can cause blistering
of glazes unless it is calcined before being added to the glaze. Another cause of blisters
is overlapping two glazes, where the top glaze matures earlier than the underlying one
and traps any gas bubbles given off. Blisters can be ground down and re-fired.
Bloating ofthe clay body can occur if there are air bubbles in the clay or if the biscuit
has been underfired.
Test tiles showing crazing in a transparent glaze (left) and blistering in a matt glaze containing
bone ash (right).
SECTION 2: GLAZE RECIPES
The following recipes were tested on white stoneware and porcelain. Test tiles were
dipped once, then half the tile dipped again to show variation in thickness. Most
tests were fired quite slowly in an electric kiln, with a stoneware firing taking about
14 hours. Where reduction is stated, tests were fired in a gas kiln with reduction
from cone 06, with heavy reduction in the first 45 minutes and moderate reduction
to neutral atmosphere for the rest of the firing to cone 9. Orton cones were used
throughout (see Orton cone table in Appendix 3).
Linda Bloomfield, thrown porcelain, 2003. Satin matt glazes, fired in an electric kiln to cone 8.
pposite Linda Bloomfield, porcelain test tiles showing a broad range of colours. Most (except for
yellow and coral red) were achieved using transition metal oxides rather than ready made stains.
29
1: Stoneware/porcelain high-fire glazes (cone 9-10)
CONE 9 MATT GLAZES 1280°C (2336°F)
White stoneware fired in oxidation (unless stated otherwise)
Dolomite matt translucent cone 9

A satin matt translucent white
Potash feldspar 42
Dolomite 17
China clay D5
Bone ash 8
Flint 8
Calcium borate frit 5
Satin matt white cone 9

A satin matt opaque white
Potash feldspar 42
Dolomite 17
China clay US
Bone ash 8
Flint 8
Zirconium silicate 10
Sane ee
Dolomite matt white cone 9

A dry matt opaque white
Potash feldspar 42
Dolomite WA
China clay 2S
Bone ash
Flint 8
esse
s
Crystalline matt white cone 9

A stony matt opaque crystalline white
Potash feldspar 46
Dolomite 23
Quartz 15
China clay 5
30
~ CONE
9MATT GLAZES 1280°C (2336°F) 31
Crystalline matt lavender blue cone 9

A stony-matt opaque lavender crystalline
Potash feldspar 46
Dolomite 23
Quartz 15
China clay 5
Cobalt oxide 0.75
Satin matt grey-blue cone 9

A satin-matt dark speckled lavender blue on speckled stoneware
Potash feldspar 42
Dolomite 7
China clay Ds
Bone ash 8
Flint 8
Cobalt oxide 0.75
Manganese dioxide p)
Crystalline grey-blue cone 9

A crystalline semi-matt grey blue with brown crystals on speckled stonewa
Potash feldspar 46
Dolomite D3,
Quartz 15
China clay 5
Cobalt oxide O75
Manganese dioxide 2
Red iron oxide ]
Crystalline matt blue cone 9

A crystalline semi-matt cobalt blue with lavender crystals
Potash feldspar oy
Soda feldspar 18
Whiting 16
Zinc oxide 5
Barium carbonate 5
Talc Ves)
Flint ies
Cobalt oxide ]
32 STONEWARE/PORCELAIN HIGH FIRE GLAZES (CONE 9-10)
Dolomite matt pale blue cone 9

A stony matt pale blue
Potash feldspar 42
Dolomite 1; £
China clay 25 ,
Bone ash 8 a
Flint 8 *%
Zinc oxide 5
Cobalt oxide 0.05 ee ne
David Leach matt purple cone 9

A satin matt purple with blue speckles on porcelain
Potash feldspar 45
Flint 18.5
Tale 14
Calcium borate frit {2
Dolomite ih
China clay 5
Bentonite 2
Cobalt oxide ]
Manganese dioxide 3
Dolomite matt translucent cone 9

A stony matt translucent with white crystals
Cornish stone 60
China clay 20
Dolomite 20
Matt pale pink cone 9

A stony matt pale pink on porcelain
Soda feldspar 4]
Barium carbonate 3
Whiting 15
China clay 7
Rutile 4
Tin oxide 4
CONE 9-10 SHINY GLAZES 1280°C (2336°F) 33
CONE 9-10 SHINY GLAZES 1280°C (2336°F)

Porcelain fired in oxidation (unless stated otherwise)
Adapted from Bernard Leach transparent glaze cone 10 reduction

Transparent glaze, crazes on porcelain
Cornish stone 40
Quartz 32
Whiting 20
China clay 10
Andrew Priestman, wood-fired porcelain beaker, 2012. Bernard Leach transparent glaze,
wash of local iron-rich earth, reduction-fired from 850°C to 1300°C (1562 to 2372°F), 7.5 x 8.5cm
(3 x 3M%in). Photo: Shannon Tofts.
34 STONEWARE/PORCELAIN HIGH FIRE GLAZES (CONE 9-10,
Adapted from Bernard Forrester ash glaze cone 10 reduction

Runny crystalline ash glaze on porcelain
Wood ash 45
Clay 55)
Andrew Priestman, three porcelain beakers, 2012. Ash and hazel wood-ash glaze, sieved through
a 60s mesh sieve, reduction-fired from 850 to 1300°C (1562 to 2372°F), 7.5 x 9cm (3 x 3%in).
Photo: Shannon Tofts.
Stable transparent glaze cone 9-10

A stiff transparent glaze on porcelain
Potash feldspar Dy
Flint 3D
Whiting 21
China clay 21
Green runny ash glaze cone 9 oxidation (on porcelain)

A runny transparent speckled green ash glaze on porcelain, oxidised
Wood ash 30 as ge
Potash feldspar 30 fa os
China clay 15 Pe ea
Whiting 4 Bae ii ea
Flint 21 oe
Bentonite yl
Copper oxide 0.5
Cobalt carbonate 0.1
Runny ash glaze _ cone 9 oxidation (on stoneware)

A crystalline transparent runny ash glaze speckled on stoneware
Wood ash 38
Cornish stone 29
China clay 12
Whiting 8
Flint 2
Pale yellow semi-transparent ash glaze on porcelain oxidised

A runny transparent ash glaze
Feldspar 40
Wood ash 60
Bentonite 2
Pale green semi-transparent ash glaze oxidised

A runny pale green ash glaze
Potash feldspar 40
Wood ash 60
Bentonite 2
Copper oxide 0.5
Semi-transparent blue-green ash glaze oxidised

A runny green crackle ash glaze
Potash feld Pal A
Wood ash 60
Bentonite
Copper oxide 05
Transparent blue ash glaze oxidised

A runny blue crackle ash glaze
Potash feldspar 40
Wood ash 60
Bentonite 2
Crystalline transparent runny ash glaze on stoneware oxidised

Potash feldspar 50)
Wood ash 50
Bentonite 2
Transparent green ash glaze on white stoneware oxidised

Feldspar 40
Wood ash 60
Copper oxide ]
Transparent green-blue ash glaze on stoneware oxidised .

Wood ash 30
Potash feldspar 30
China clay 15
Whiting 4
Flint Z|
Copper oxide O75
opposite Stephen Parry, Nuka Cup, wood-fired

stoneware, nuka glaze, 80 straw ash, 20 ball clay,
7.5 x 9cm (3 x 3¥%in), 2013. Photo: Stephen Parry.
Crystalline transparent cobalt blue cone 8

Potash feldspar 5 (on stoneware)
Whiting 14
Zinc oxide 4
Barium carbonate 4
Talc We
China clay 4
Flint (5
Cobalt carbonate ]
Transparent yellow brown on porcelain cone 9

A transparent yellow-brown
Potash feldspar 29
Flint 22
Wollastonite 26
China clay 23
\Imenite 5
Transparent pale brown cone 9

A transparent pale red-brown
Potash feldspar XS
Flint 22
Wollastonite 26
China clay 23
Nickel oxide 0.3
Transparent dark brown cone 8-9

A transparent dark brown
Potash feldspar 29
Flint 22
Wollastonite 26
China clay 23,
Nickel oxide 0
Cobalt oxide 0aT
GO!
llmenite 5
Transparent pale grey cone 8

A transparent grey
Potash feldspar 29
Flint BD
Wollastonite 26
China clay 23
Nickel oxide 0.3
Cobalt oxide 0.1
Transparent pale cobalt blue cone 8-9

A pale transparent cobalt blue
Potash feldspar 29
Flint DD
Wollastonite 26
China clay 23
Cobalt oxide 0.1
Recipe D - Stable transparent glaze cone 9-10

A stiff transparent glaze derived from Tony Hansen's Cone
10 transparent. It can be made less stiffbyadding 2-5%
zinc oxide or calcium borate frit.
Potash feldspar 27
Quartz 32
Whiting 21
China clay 20
See Recipe D colour variations on stoneware on pp.40-42

Oxidised stoneware
D9 transparent pale lavender

Recipe D (see p.39)
+ Neodymium oxide 5
D10 transparent pale blue

Recipe D (see p.39)
+ Cobalt oxide 0.1
+ Manganese dioxide 0.5
D12 transparent bright blue

Recipe D (see p.39)
+ Cobalt oxide 0.1
+ Copper oxide 0.5
D11 shiny opaque dark teal green

Recipe D (see p.39)
+ Cobalt oxide
+ Chromium oxide 0.5
Reduced stoneware
D2 shiny dark copper red

Recipe D (see p.39)
+ Copper oxide 1
+ Tin oxide 5
D5 shiny opaque sand

Recipe D (see p39)
+ Rutile 2
+ Tin oxide 5
D3 pale sage green

Recipe D (see p.39)
D11 shiny opaque teal green

Recipe D (see p.39)
+ Cobalt oxide 0.2
+ Chromium oxide OS
Reduced stoneware
Recipe D (see p.39)

D9 transparent pale lavender blue
+ Neodymium oxide 5
D10 transparent pale blue

Recipe D (see p.39)
+ Cobalt oxide 0.1
D6 transparent bright blue

Recipe D (see p.39)
+ Cobalt oxide 0.1
D12 shiny dark blue

Recipe D (see p.39)
+ Cobalt oxide 0.1
+ Copper oxide 0.5
CELADON GLAZE TESTS CONE 9, 1280°C (2336°F) 43
CELADON GLAZE TESTS - CONE 9, 1280°C (2336°F)

by Mirka Golden-Hann, resident artist at Salisbury Arts Centre
Celadon is a grey-green glaze first made by the Tang Chinese potters (618-907 CE).
The colour comes from a small amount of iron oxide and the glaze must be fired
in reduction. In oxidation it is straw yellow. The following line blends on Audrey
Blackman porcelain contain, from left to right, 0.5, 0.8, 1.1, 1.5 and 2% red iron
oxide. The test tiles were placed vertically on a kiln sitter in order to assess the
fluidity of the glaze.
Glossy grey-green celadon (from Chris Keenan)

Wollastonite 33
China clay 27
Flint 21
Potash feldspar 19
Red iron oxide 0.5
Matt grey-blue celadon (from Natasha Daintry)

Flint 28
China clay oy,
Cornish stone 23
Whiting 22
Red iron oxide 0.75
Glossy blue-grey celadon

Flint 28
Potash feldspar 33
China clay 17
Whiting 17
lron oxide iS
Matt crackle blue-green celadon (from Edmund de Waal)

Nepheline syenite 32)
Cornish stone 10
Whiting 19
China clay 16
Flint 23
lron oxide 0.5
Satin matt grey-green celadon

Potash feldspar 20
Cornish stone 20
Soda feldspar 20
Whiting 16
China clay 18
Flint 18
lron oxide 0.5
CELADON GLAZE TESTS CONE 9, 1280°C (2336°F) 45
Pale blue celadon (from Derek Emms)

Potash feldspar 40
Wollastonite 20
Zinc oxide 5
Talc 5
China clay ie
Flint 30
lron oxide OS
Glossy fluid blue-green celadon (from Joanna Howells)

Cornish stone 60
Dolomite 6 \
Wollastonite V7
Quartz 6
China clay 11
lron oxide OS
{
7
f
Satin matt grey celadon (from Emmanuel Cooper)

Cornish stone 50
Whiting 23
Zinc oxide 3
Quartz 10
China clay 14
lron oxide 0.5
Mirka Golden-Hann, porcelain bowls fired to cone 9, 1280°C (2336°F). (Top row) oxidised
(bottom row) reduced; (left) celadon (iron oxide), (right) copper oxide.
COPPER TURQUOISE/RED GLAZE TESTS — CONE 9, 1280°C (2336°F) 47
COPPER TURQUOISE/RED GLAZE TESTS - CONE 9, 1280°C (2336°F)

by Mirka Golden-Hann, Salisbury Arts Centre
Copper oxide is turquoise or green in oxidised firings but can turn red in reduction.
To obtain red, the glaze needs to be quite fluid and should contain around 0.5%
copper carbonate and 5% tin oxide. The formation of copper red relies on the friction
between the molecules of tin and copper in the moving molten glaze and requires
a thick glaze application. Increasing the copper to more than 3% results in a green
glaze. Colemanite can cause the glaze to splutter owing to the high water content, so
borax frit is a preferable flux often used in copper reds.
Key
(left) porcelain (Audrey Blackman)
(right) stoneware (Valentines HT Special)
(top row) oxidised firing in an electric kiln
(bottom row) reduction firing in a gas kiln.
Pale blue/deep red (altered Tom Coleman recipe 1)

Potash feldspar 7
Nepheline syenite 7
Soda ash (3
Whiting 16
Flint 34
Bentonite 1
Tin oxide 2
Copper carbonate 0.4
48 STONEWARE/PORCELAIN HIGH-FIRE GLAZES (CONE 9-10)
Blue green/bright red (altered Tom Coleman recipe 2)

Potash feldspar 45
Whiting 10
Barium carbonate 5
Dolomite 3
Colemanite (calcium
borate frit) 5
Flint 26
China clay e}
Zirconium silicate 0.7
Tin oxide 2
lron oxide 0.2
Opaque turquoise/bright red (from Derek Emms)

Standard borax frit is
Soda feldspar 45
Whiting 15
China clay 5
Flint 20
Tin oxide 5
Bentonite 0.5
Clear turquoise/bright red (from Nigel Wood)

Potash feldspar 85
Whiting is
China clay 10
Barium carbonate 11
Flint D5
Tin oxide ]
Copper carbonate OS
Deep turquoise/dark maroon (from The Potter’s Dictionary,

Hamer & Hamer, 4th edition, 1997)
Soda feldspar 40
Flint 20
Whiting 15
Borax frit 25
China clay 5
Tin oxide 35
50 STONEWARE/PORCELAIN HIGH-FIRE GLAZES (CONE o- 10)
Green/mottled maroon (Derek Emms’s chun glaze, plus

copper and tin)
Potash feldspar 40
Flint 30
Whiting 20
Borax frit 10
Talc 5
China clay 2
Tin oxide 3
Red iron oxide 0.5
Matt green/dark pink

Potash feldspar 35
Ball clay 17
China clay 2
Whiting V2
Flint iy
Barium carbonate 7
Copper carbonate 2
_ COPPER TURQUOISE/RED GLAZE TESTS - CONE 9, 1280°C (2336°F) 51
Pale blue/mottled dark pink

Flint 19.2
Ball clay 12
Whiting 10.5
Zirconium silicate U3
Barium carbonate 15
Potash feldspar 25
Soda feldspar Di)
Copper carbonate 1
Tin oxide 4
Blue green/mottled pink-green

Flint 92
Ball clay 2
Whiting 10.5
Zirconium silicate #3
Barium carbonate 15
Potash feldspar DS
Soda feldspar |
Copper carbonate 6
Tin oxide 4
52 STONEWARE/PORCELAIN HIGH-FIRE GLAZES (CONE 9-10) . oe : o
Pale blue/mottled grey-pink

Nepheline syenite 11
China clay 34
Flint 23)
Soda ash il
Whiting 5
Lithium carbonate 1]
Tin oxide 4
Copper carbonate ]
Mottled grey-green
Nepheline syenite 1]
China clay 34
Flint D3,
Soda ash i
Whiting 5
Lithium carbonate 11
Tin oxide 5
Copper carbonate 3
Mottled blue/purple/grey
Nepheline syenite 1]
China clay 34
Flint D3,
Soda ash ia
Whiting 5
Tin oxide 5
Copper oxide 1S
BELOW Sara Flynn, Slant Vessels,

2009. Copper red glaze with
1% copper carbonate, fired in
reduction to cone 9, ht: 20-31cm
(8-12in). Photo: Roland Paschhoff.
(CONE 9-10)
54 STONEWARE/PORCELAIN HIGH-FIRE GLAZES
GLAZES AND SLIPS FOR SODA FIRING

See p.126 for Lisa Hammonds clay recipe
1280-1300°C (2336-2372°F)
Slip 1 for soda firing (Lisa Hammond)
tion
Soft cream/orange depending on thickness and reduc
HVAR ball clay 50
China clay 50
Slip 2 for soda firing (Lisa Hammond) 1280-1300°C (2336-2372°F)

Drier surface than slip 1. Flashes red/orange/tan
Hymod Excelsior ball clay 45
China clay 45
Flint 0
Liner glaze for soda firing (Lisa Hammond) cone 10-12

1280-1300°C (2336-2372°F)
Can be applied raw to leatherhard or bone dry and to biscuit ware.
Fires cream to red, depending on thickness and reduction.
Potash feldspar 33
Ball clay 33
GLAZES AND SLIPS FOR SODA FIRING 55
Photo
Lisa Hammond, tall jug, 2012. Soda-fired stoneware with shino glaze, ht: 27cm (1034in).
Andy Stewart.
56 STONEWARE/PORCELAIN HIGH-FIRE GLAZES (CONE 9-10)
Lisa Hammond, bakin

GLAZES AND SLIPS FOR SODA FIRING 57
White shino (from Lisa Hammond) for reduction firing

1280-1300°C (2336-—2372°F)
Varies with thickness ofapplication,
from white when thick to red when thin.
Feldspai 70
Ball clay 30
Lisa Hammond, tall bottle, 2012. Black clay, white shino with finger wipes, 28 x 9cm (11 »
Photo: Jay Goldmark
2: Stoneware/porcelain mid-temperature-range
glazes (cone 6—8
Linda Bloomfield, nesting porcelain bowls, 2011. Satin matt translucent on outside, grey runny
transparent inside, dia: 20cm (8in).
58
_ CONE 6-8 MAGNESIUM MATT GLAZES 1200-1260°C (2192-2300°F) 59
CONE 6-8 MAGNESIUM MATT GLAZES 1200-1260°C (2192-2300°F

Crystalline matt pale lavender blue cone 6

A semi-matt pale blue with lavender crystals, a thin
application on stoneware
Soda feldspar 42
Dolomite 22
Quartz 22
China clay 4
Bentonite 2 .
Whiting 3
Zinc oxide 5 =
Cobalt oxide 0.1
Crystalline matt pale lavender blue cone 6

Semi-matt lavender blue, a thick application on stoneware
Soda feldspar 42 i
Dolomite 22
Quartz 22 i
China clay 4
Bentonite 2
Whiting 3 |
Zinc oxide 5 |
Cobalt oxide 0.1 —s
Crystalline dark blue cone 6

A dark blue transparent with brown crystals
Soda feldspar 42
Dolomite 22
Quartz 22
China clay
Bentonite 2
Whiting 3
Zinc oxide 5
Cobalt oxide 0
Manganese dioxide 2
Red iron oxide ]
60. STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES (CONE 6-8)
Opaque crystalline grey blue cone 6

A satin matt blue with brown crystals
Soda feldspar 42
Dolomite DD
Quartz 22
China clay 4
Bentonite 2
Whiting 3
Zinc oxide 5
Cobalt oxide 0.75
Manganese dioxide 2
Red iron oxide 1
Michael Bailey crystalline matt blue cone 6

A crystalline semi-matt cobalt blue on porcelain
Soda feldspar 42
Dolomite DD
Quartz 22
China clay 4
Bentonite 2
Whiting 3
Zinc oxide 5
Cobalt oxide OWS
Crystalline matt blue with pink crystals cone 8

A crystalline cobalt blue with pink crystals on porcelain
Soda feldspar 4]
Dolomite 22
Quartz 11
China clay 18
Bentonite 2
Whiting 3
Zinc oxide 5
Cobalt oxide 0.75
Cream crystalline matt
A satin matt crystalline pale beige
Soda feldspar 42
Dolomite 22
Quartz DD)
China clay 4
Bentonite 2)
Whiting 3
Rutile 5
Sea green crystalline matt

A crystalline semi-matt sea green
Soda feldspar 42
Dolomite DD
Quartz 22
China clay 4
Bentonite 2
Whiting 3
Zinc oxide 5
Copper oxide ]
Yellow cream matt cone 8

A stony matt speckled yellow cream
Soda feldspar 42
Dolornite 22
Quartz 22
China clay 4
Bentonite 2
Whiting 3
Rutile 5
Tin oxide |
62 STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES (CONE 6-8)
Chrome-tin pink matt cone §

A stony matt crystalline pale pink
Soda feldspar 40
Dolomite 8
Whiting 22
China clay 20
Flint 10
Tin oxide 2)
Chromium oxide 0.1
Satin matt translucent cone 8

A soft satin matt white on stoneware
(see porcelain opposite)
FFF feldspar 38
Tale 21
Quartz 16
China clay 15
Whiting 12
Zinc oxide 3
Satin matt pale grey cone 8

A satin matt grey-white
FFF feldspar 33
Talc 21
Quartz 16
China clay 15
Whiting 12
Zinc oxide 3
Nickel oxide 0.1
Cobalt oxide 0.05
CONE 6-8 MAGNESIUM MATT GLAZES 1200-1260°C (2192-2300°F) 63

A soft satin matt white on porcelain
(see stoneware opposite) 4
FFF feldspar 33)
Talc 21
Quartz 16
China clay ie
Whiting 12
Zinc oxide 3
Emily Myers, Faceted bottles, blue crystalline glaze, 2009, ht: 28cm (11in). Photo: courtesy of the artist.
Satin matt pale cream cone 8

A satin matt creamy white
FFF feldspar 53
Talc 21
Quartz 16
China clay 15
Whiting 2
Zinc oxide 3
Nickel oxide 0.1
Rutile 2D
Satin matt beige cone 8

A satin matt crystalline beige
FFF feldspar 35
Talc 2|
Quartz 16
China clay 15
Whiting 12
Zinc oxide 3
Tin oxide ]
Chromium oxide 0.1
Satin matt pink beige cone 8

A satin matt mushroom pink-brown
FFF feldspar 83
Tale 21
Quartz 16
China clay 15
Whiting (2
Zinc oxide 3
Tin oxide
Chromium oxide On
Spano . Aa eames
eaeee eee a
fem aemaa, : %
Raineste meh As nese ans: Sie es 2 ies
6- 8 MAGNESIUM MATT GLAZES 1200-1260°C (2192-2300°F) 65
Sm Ni heaaa ek MeN ee i i
Oxidised stoneware
Base Glaze Recipe B - Magnesium satin matt cone 8

A tactile satin matt
Potash feldspar 33
Talc 2
Quartz 16
China clay [5
Whiting 2
B9 satin matt pale lavender

Recipe B (see above)
+ Neodymium oxide 5
B10 satin matt dark lavender

Recipe B (see top of page)
+ Cobalt oxide 0.1
B11 satin matt teal green

Recipe B (see top of page)
+ Cobalt oxide 0.1
Fes
66 STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES (CONE 6

Se ee ee
Oxidised stoneware
B12 satin matt grey

Recipe B (see top of p.63)
+ Cobalt oxide 0.1
+ Copper oxide 0.5
B5 satin matt opaque cream

+ Rutile D)
+ Tin oxide 5
B8 satin matt speckled cream

+ |ron oxide O25)
B2 satin matt pale mint green

+ Copper oxide i
+ Tin oxide 5
CONE 6-8 MAGNESIUM
MATT GLAZES 1200-1260°C (2192-2300°F) 67
Oxidised stoneware
B6 satin matt lavender blue

Recipe B (see top of 0.65)
+ Cobalt oxide Ont
Emily Myers, Blue Rocking Pot, barium blue glaze, red stoneware, ht: 25cm (934in).
Photo: courtesy of the artist.
6-8) aa
68 STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES (CONE
é Saari ‘5 eS a ae a
Reduced stoneware
B1 stony matt grey-pink

+ Copper oxide 1
B2 stony matt speckled maroon

+ Copper oxide ]
+ Tin oxide 5
B6 stony matt lavender blue

+ Cobalt oxide 0.1
B12 stony matt dark purple

+ Cobalt oxide 0.1
+ Copper oxide 0.5
aiaF) are
69
Reduced stoneware
B7 stony matt opaque white

+ Cerium oxide 5
B8 stony matt speckled grey

+ lron oxide 0.5
B5 stony matt speckled pale brown

Recipe B (see top of 9.65)
+ Rutile D)
+Tin oxide 5
B4 stony matt pale sage green

+ Tin oxide 5
CONE 6-8 MATT GLAZES 1200-1260°C (2192-2300°F)

Emmanuel Cooper barium matt turquoise cone 8

A dry matt turquoise
Barium carbonate 25
Lithium carbonate 2
Flint 8
China clay 6
Copper oxide 2
Barium satin matt turquoise cone 8

A smooth matt turquoise blue
Barium carbonate 25
Lithium carbonate 2
Flint 8
China clay 6
Copper oxide ]
Dry barium matt aquamarine cone 8

A dry matt pale aqua
Barium carbonate 25
Lithium carbonate p
Flint 8
China clay 6
Copper oxide OS
Dry barium matt chartreuse cone 8

A dry matt chartreuse green
Barium carbonate 25
Lithium carbonate 2
Flint 8
China clay
Chromium oxide 0.5
fae
Be Pe ass eee ;
ZES 1200-1260°C (2192-2300°F) 71
Dry barium matt pale pink cone 8

A dry matt pale pink
Barium carbonate 25;
Lithium carbonate
Whiting
Flint
China clay
Rutile
Tin oxide tS)
On
Com
On
CH
Dry barium matt pink cone 8

A dry matt pink
Barium carbonate 25
Lithium carbonate 2
Whiting 10
Flint 8
China clay 6
Rutile 7
Tin oxide 5
Barium matt pink (on porcelain) cone 8

A smooth matt dark pink
Soda feldspar 40
Barium carbonate 31
Whiting 10
Calcium borate 5
China clay vi
Rutile ii
Tin oxide 5)
Dry barium matt pink (on stoneware) cone 8

A dry matt dark pink
Soda feldspar 40
Barium carbonate 3]
Whiting 10
China clay 7.
Rutile ii
Tin oxide 5
(CONE 6-8) ae seh
72 STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES
Dry barium matt purple cone 8

A dry matt purple
Nepheline syenite DS
Barium carbonate 25
Lithium carbonate D.
Flint 8
China clay 6
Manganese dioxide 2
ee
—
Barium matt nickel purple (Emmanuel Cooper) cone 8

A stony crystalline matt aubergine (eggplant) purple
FFF feldspar 35
Barium carbonate 35
Lithium carbonate 3
Quartz iiss
China clay 5
Zinc oxide 3
Nickel oxide ES
Barium matt manganese pink cone 8

A semi-matt brown pink
FFF feldspar 35
Barium carbonate 35
Lithium carbonate
Quartz 15
China clay
Manganese dioxide 2
Nickel pink (Emmanuel Cooper) cone 8

A matt steel blue with nickel-pink crystals where thick
FFF feldspar 33
Barium carbonate 40
Zinc oxide 16
China clay 5
Quartz
Nickel oxide 15
oe ee eR eetee
a ee I
CONE 6-8 MATT GLAZES 1200-1260°C (2192-2300°F) 73
Matt chrome-tin pink cone 8

A stony matt chrome-tin pink
Soda feldspar 62
Whiting 29
China clay 9
Tin oxide 3
Chromium oxide 0.25
Satin matt maroon cone 8 (best fired slowly)

A satin matt maroon, white where thin
Cornish stone 28
Quartz 20
Dolomite 18
Whiting 16
China clay 12
Bone ash 4
Tin oxide 7
Chromium oxide OS
Chrome-tin red cone 6-8

A crystalline semi-matt chrome-tin red
FFF feldspar 40
China clay 5
Quartz 10
Whiting 20
Gerstley borate 5
Lithium carbonate 5
Tin oxide 5
Chromium oxide 0.1
Chrome-tin pink cone 8

A semi-matt/shiny transparent pale rose pink
Cornish stone 50
Whiting 30
Flint 5)
China clay 15
Tin oxide 2
Chromium oxide 0.1
74 STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES (CONE 6-8) a a

A stony matt translucent
FFF feldspar 38
Talc Di
Quartz 16
China clay [5
Whiting 12
Zinc oxide 3
Crystalline beige (Michael Bailey) cone 6

A crystalline semi-matt/shiny beige
Soda feldspar 43
China clay i
Whiting 225
Zinc oxide 6
Quartz 2S
Titanium dioxide 5
Nickel oxide 0.5
Magnesium satin matt brown cone 8

A stony matt yellow-brown
FFF feldspar 33
Talc 2|
Quartz 16
China clay 15
Whiting 12
Zinc oxide 3
Red iron oxide 8
Magnesium satin matt red-brown cone 8

A stony matt red-brown
FFF feldspar 33
Talc 2]
Quartz 16
China clay 15
Whiting 12
Zinc oxide 3
Red iron oxide 8
Chromium oxide 0.5
ieee Restore
if sisal ECE ae
ATT GLAZES 1200-1260°C (2192-2300°F) 75

ye hs
Ries yao =n ze pes piste Bee em dy sixes
Dolomite matt blue-grey cone 8-9

A satin matt dark blue-grey
Potash feldspar 42
Dolomite iW
China clay 25
Bone ash 8
Flint 8
Nickel oxide OS
Cobalt oxide 0.3
Satin matt pale grey cone 8

A satin matt pale blue-grey
FFF feldspar 33
Talc 2)
Quartz 16
China clay 15
Whiting 2
Zinc oxide 3
Nickel oxide 0.2
Cobalt oxide 0.1
Satin matt pale lavender cone 8

A stony matt pale lavender blue
FFF feldspar 33
Talc 21
Quartz 16
China clay 15
Whiting (2
Zinc oxide 3
Cobalt oxide 0.1
Satin matt dark lavender cone 8
A stony matt dark lavender blue
FFF feldspar 33
Talc
Quartz
China clay
Whiting
Zinc oxide
Cobalt oxide
Crystalline matt beige cone 6-8

A crystalline semi-matt/shiny beige
Soda feldspar 42
Dolomite 2D
Quartz
China clay
Bentonite
Whiting
Zinc oxide
Nickel oxide
Cobalt carbonate OFS
Crystalline matt grey cone 6-8

A crystalline semi-matt/shiny grey
Soda feldspar 42
Dolomite
Quartz
China clay
Bentonite
Whiting
Zinc oxide
Nickel oxide
Iron red on porcelain (Michael Bailey) cone 6

A shiny brown with red crystals on porcelain
Potash feldspar 47
China clay 4
Bentonite D
Bone ash 15
Lithium carbonate 4
Tale W
Quartz es
Red iron oxide ies
Iron red on stoneware (Michael Bailey) cone 6

A shiny tomato red with brown speckles on stoneware
Potash feldspar 47
China clay J
Bentonite 2
Bone ash 15
Lithium carbonate 4
Talc iW
Quartz Wis
Red iron oxide V5
Satin matt pale green cone 8

A satin matt opaque pale green teas , Px oe
FFF feldspar 33 * for i ts = °-
Talc 21 : ei4 Pe age
Quartz 16 \ Sao = i
China clay 15 , etn se a
Whiting 12 ve ‘4
Zinc oxide 3 7 ert,
Titanium dioxide 5
Nickel oxide 3
Satin matt mustard yellow cone 8

A satin matt opaque mustard yellow
FFF feldspar 33
Talc 21
Quartz 16
China clay 15
Whiting 12
Zinc oxide 3
Titanium dioxide 10
Nickel oxide 3
Opaque orange yellow cone 8

A shiny opaque orange-yellow
Potash feldspar 38
Talc Di
Quartz 16
China clay 15
Whiting 12
Tin oxide 5
Rutile 7
Opaque yellow brown cone 8

A shiny opaque tan yellow with brown speckles
Potash feldspar 33
Talc 21
Quartz 16
China clay 15
Whiting 12
Tin oxide 5
Chromium oxide 0.2
Rutile 7
Oxidised stoneware
Base Glaze Recipe C - Barium matt cone 6-8

A barium matt adapted from an Emmanuel Cooper recipe.
Matt at cone 5-6, more satin at cone 7-8.
Potash feldspar 33
Barium carbonate BS
Lithium carbonate 3
Quartz (5
China clay 5
C2 Satin matt opaque turquoise

Recipe C (see above)
+ copper oxide 1
+ tin oxide 5
C4 Satin matt opaque chartreuse green

Recipe C (see top of page)
+ chromium oxide 0.2
+ tin oxide 5
C11 Satin matt dark teal blue

Recipe C (see top of page)
+ cobalt oxide 0.2
Oxidised stoneware
C12 Stony matt bright electric blue

Recipe C (see p.79)
+ cobalt oxide 0.1
+ copper oxide 0.5
C8 Stony matt cream

Recipe C (see p.79)
+ iron oxide 0.5
C7 Stony matt pale apricot

Recipe C (see p.79)
+ cerium oxide 5
C9 Stony matt pale lavender

Recipe C (see p,79)
+ neodymium oxide 5
ae oe us a es es Peay ae = ae 2 2
Beat cae ia iy nie, s ag 1 ie upc i x ae fi Slats ar Hs
ae oe Ne CONE 6-8 MATT GLAZES 1200-1260°C (2192-2300°F)
es u is : 981
8. eu ie
Oxidised stoneware
nena . ——
C10 Stony matt dark blue

Recipe C (see p.79)
+ cobalt oxide 0.1
+ manganese oxide 0.5
C5 Satin matt off-white oxidised

Recipe C (see p.79)
+ rutile 2
+ tin oxide 5
Reduced stoneware (cone 6)
C1 Semi-matt pale turquoise reduced

Recipe C (see p.79)
+ copper oxide ]
Ree Oo ae ee
82. STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZE EO
AB( ack, nee = ig er Beye esate) we Maman ee oS Seta ear car eas ak Q
Reduced stoneware
C3 Matt chartreuse green reduced

Recipe C (see p.79)
+ chromium oxide O.
C9 Matt pale lavender reduced

Recipe C (see p.79)
+ neodymium oxide 5
C8 Semi-matt pale greenish white

Recipe C (see p.79)
+ iron oxide 0.5
an oe nig y= ni se Le ea aan ary -
: e : a
feaSRE A se Abie oy 4 ap :1 ee :
ais kor ie xg i . oe
Me :
ase CONE 6-8 MATT GLAZES 1200-1260°C (2192-2300°F) 83
C7 Semi-matt grey green

Recipe C (see p.79)
+ cerium oxide >
C5 Semi-matt off-white
Recipe C (see p.79)
+ rutile 2
+ tin oxide 5
C11 Semi-matt dark teal blue

Recipe C (see p.79)
+ cobalt oxide 0.1
CONE 6-8 SHINY GLAZES 1200-1260°C (2192-2300°F)

Linda Bloomfield, thrown porcelain cups on a tray, 2012. Runny transparent glazes with
praseodymium and copper, satin matt translucent on the outside, dia: 40cm (1534in).
Runny transparent cone 8 on porcelain

A runny shiny transparent
Soda feldspar 45
Quartz WW
Whiting 14
China clay 5
es
CONE 6-8 SHINY GLAZES 1200-1260°C (2192-2300°F) 85
Shiny transparent cone 8

Potash feldspar 34
Quartz 23
China clay 13
Whiting 1]
Dolomite 5
Michael Bailey shiny transparent cone 6

A very shiny transparent
Soda feldspar 43
Quartz DD
Whiting AB;
Zinc oxide 6
China clay I
Opaque crystalline white cone 6

A crystalline white shiny
Soda feldspar 43
Quartz 22
Whiting 23
Zinc oxide
China clay v7
Titanium dioxide 5
Runny opaque pale maroon cone 8

An opaque speckled dark pink
Soda feldspar 45
Quartz A
Calcium borate frit 1]
Whiting 14
China clay 5
Tin oxide 8
Chromium oxide 0.1
fA ay Vein hte e a saeaaie Ss Vane =e cl OR a See :
7i 86__STONEWARE/PORCELA Mlo-TEMPeRaTuRe RANGE GLAzES (C
Opaque pink cone 6-8 1200-1260°C (2192-2300°F)

A shiny opaque deep pink
Whiting 2
Barium carbonate 5
Flint 44
Tin oxide 4
Rutile 13
Runny opaque pale pink cone 8

A shiny opaque pale pink
Soda feldspar 45
Quartz iW,
Whiting 14
China clay 5
Tin oxide 4
Rutile 1.75
st ee
Runny transparent pale pink cone 8
A shiny transparent pale pink
Soda feldspar 45
Quartz 17
Whiting 14
China clay 5
Erbium oxide 4
ne
2 i ee base 3s fe ae iy Se oe S Sieacte f ‘iae Gi z aes pee nite soy Mina .
To ONE 6-8 SHINY GLAZES

Tl ae pact ha
1200-1260°C (2192-2300°F)
Sian: see aera ci Te a i erie er 3 nome Lay eel tn =f ear
87
Runny transparent tan yellow cone 8

A runny transparent tan yellow
Soda feldspar 45
Quartz IZ
Whiting 14
China clay 5
Cerium oxide 2
Shiny coral red cone 8

A shiny opaque coral red
Potash feldspar 34
Quartz D3
China clay is
Whiting il
Dolomite 5
CdSe red stain
(Cadmium selenide) 4
Shiny dark grey cone 8

A transparent dark storm-cloud grey
Potash feldspar 34
Quartz BS
China clay 13
Whiting 1
Dolomite 5
Cobalt oxide 0.1
Nickel oxide 0.3
Manganese dioxide 0.5
Shiny black glaze cone 8-9

An opaque shiny black
Potash feldspar Dy
Flint 32
Whiting 2)
China clay 21
Manganese dioxide 2
lron oxide 2
Cobalt oxide 2
Chromium oxide ]
Runny transparent sea blue cone 8

A shiny transparent sea blue
Soda feldspar 45
Quartz 7
Whiting 14
China clay 5
Copper oxide ]
Cobalt oxide 0.1
Transparent dark blue cone 9

A shiny transparent dark grey-blue
Potash feldspar 29
Flint 22
Wollastonite 26
China clay 23
Manganese dioxide
Red iron oxide
Cobalt carbonate OS!
ie
a
Midnight blue cone 8-9

A shiny transparent midnight blue
Potash feldspar 29
Flint 22
Wollastonite 26
China clay 23
Manganese dioxide p)
Red iron oxide |
Cobalt carbonate 2
Runny pale blue “Chun; oxidation cone 8 on stoneware

A pale opaque ‘Chur’ blue on stoneware
Soda feldspar 45
Quartz V7 f
Calcium borate frit 15 g
Whiting 14 /
China clay 5
Tin oxide 5 /
Copper oxide 0.1 ineidaleibiilaatii ca
Runny turquoise opaque cone 8

A runny opaque turquoise blue
Soda feldspar 45
Quartz WW
Whiting 14
China clay 5
Tin oxide 5
Copper oxide ]
Runny turquoise cone 8

A runny transparent turquoise blue-green
Soda feldspar 45
Quartz 7
Whiting 14
China clay 5
Chromium oxide 0.1
Copper oxide 0.5
Runny sea green cone 8

A runny transparent sea green
Soda feldspar 45
Quartz 17
Whiting 14
China clay 5
Copper oxide )
Linda Bloomfield,
nfield, cakecake stands
stands with1 graduated
graduated turquoise
turquoi glazes, dia: 31cm (12%in).
i
Runny yellow-green cone 8

A runny transparent pale yellow-green
Soda feldspar 45
Quartz 17
Calcium borate frit 1S
Whiting 14
China clay 5
Praseodymium oxide 6
Runny lime green cone 8

A runny transparent lime green
Soda feldspar 45
Quartz 17
Whiting 14
China clay 5
Chromium oxide 0.5
Runny eau-de-Nil green cone 8

A runny transparent eau-de-Nil green
Soda feldspar 45
Quartz 7
Whiting 14
China clay 5
Chromium oxide OMG
Copper oxide 0.2
Will Levi Marshall chartreuse cone 6-10

A transparent crackled chartreuse green
Whiting 5)
Barium carbonate 24
Flint 31
Bentonite 3
Chromium oxide 0.3
92 STONEWARE/PORCELAIN MID-TEMPERATURE-RANGE GLAZES (CONE 6-8) |
Shiny cadmium yellow cone 8

An opaque bright cadmium yellow
Potash feldspar 34
Quartz 23
China clay 3
Whiting el
Dolomite 5
Cd yellow stain (Cadmium) 4
Shiny praseodymium yellow cone 8

A semi-transparent pale praseodymium yellow
Potash feldspar 34
Quartz 23
China clay 3
Whiting 1
Dolomite 5
Pr yellow stain
(Praseodymium) 4
acne -
Shiny tan yellow cone 8

A semi-transparent tan yellow
Potash feldspar 27
Flint 32
Whiting 21
China clay 21
Rutile 5
A runny transparent dark bottle green

Soda feldspar 45
Quartz V7
Whiting 14
China clay 5
Nickel oxide 0.5
Copper oxide 1
-8 SHINY GLAZES 1200-1260°C (2192-2300°F) 93
Runny pale violet cone 8

A runny transparent pale violet
Soda feldspar
Quartz
Calcium borate frit
Whiting
China clay
Neodymium oxide
Runny heather purple

A runny opaque pale heather purple
Soda feldspar 45
Quartz
Calcium borate frit
Whiting
China clay
Tin oxide
Cobalt oxide
Rutile
Runny pale purple cone 8

A runny transparent purple-grey
Soda feldspar 45
Quartz
Calcium borate frit
Whiting
China clay
Manganese dioxide
Cobalt carbonate
Pale manganese brown

A semi-opaque shiny mushroom brown
Nepheline syenite
Whiting
Lithium carbonate
Barium carbonate
Calcium borate frit
Flint
Tin oxide
Rutile
Manganese dioxide
E GLAZES (CONE 6-8)
94 STONEWARE/PORCELAIN MID-TEMPERATURE-RANG
cone 8-9
Lasse Ostman semi-glossy blue and yellow crystal glaze
A very runny crystal glaze
Potash feldspar 63
Dolomite 16
Zinc oxide 17
Rutile 3
Runny transparent violet cone 6

A runny pale violet
Soda feldspar 45
Quartz liz
Calcium borate frit ib
Whiting 14
China clay 5
Neodymium oxide 6
Erbium oxide 6
Transparent lavender blue cone 8

A runny pale lavender blue
Soda feldspar 45
Quartz \7
Calcium borate frit iS
Whiting 14
China clay 5
Neodymium oxide 6
Cobalt oxide 0.025
Transparent violet cone 6-10

A crackled transparent violet
Whiting 3
Barium carbonate 24
Flint 3]
Bentonite 3
Neodymium oxide 8
CONE 6-8 SHINY GLAZES 1200-1 260°C (2192-2300°F) 95
Transparent pink-brown cone 8

A runny transparent
pale pink-brown
Soda feldspar 45
Quartz WW
Whiting 14
China clay 5
Transparent grey-brown cone 8

A runny speckled grey-brown
Soda feldspar 45
Quartz 17
Whiting 14
China clay 5
Nickel oxide 0.2
Transparent pale grey cone 8

A runny transparent very pale grey
Potash feldspar 34
Quartz 23
China clay iB
Whiting i
Dolomite 5
Nickel oxide 0.075
Cobalt oxide 0.025
URE-RANGE GLAZES (CONE 6-8)
96 STONEWARE/PORCELAIN MID-TEMPERAT
Oxidised stoneware
alkaline glaze cone 7-8
Base Glaze Recipe A - Runny transparent
s copper red. This glaze has a wide
A runny alkaline glaze adapted from Derek Emms
at high temperatures.
firing range and can fire to cone 9, but is runny
Soda feldspar 45
Quartz i
Calcium borate frit {5
Whiting (ls
China clay 5
‘Sole Ke 4
A8 transparent pale straw yellow ; oi
> it, aa,
Recipe A (see above)
is
+ Cerium oxide 5
A3 runny transparent lime green

Recipe A (see top of page)
+ chromium oxide Oy
A4 opaque pale sage green

+ chromium oxide Ow
+ tin oxide
A11 semi-opaque shiny teal green

+ cobalt oxide 0.1
+ chromium oxide Oe
Oxidised stoneware
A5 shiny opaque pale pink

Recipe A (see opposite)
+ rutile
+ tin oxide 5
A9 transparent pale lavender

Recipe A (see opposite page, top)
+ neodymium oxide 5
A6 transparent cobalt blue

+ cobalt oxide ON]
A12 transparent bright blue

+ cobalt oxide 0.1
+ copper oxide 0.5
Reduced stoneware
A3 semi-transparent bright green

Recipe A (see p.96, top)
A4 opaque bright green

+ tin oxide 5
A6 transparent cobalt blue

+ cobalt oxide 0.1

+ cobalt oxide 0.1
+ copper oxide 0.5
7
Reduced stoneware
A9 transparent pale lavender blue

|
+ neodymium oxide 5 |
AS shiny opaque cream

+ rutile 2
+ tin oxide 5
A8 runny celadon green

+ iron oxide 0.5
A11 shiny bright opaque teal

+ cobalt oxide 0.2
3: Earthenware glazes (cone 06-03)
Emma Williams, Medium form with neck, 2012. Press-moulded and assembled black stoneware
with copper turquoise barium glaze and smooth white crawl glaze, fired to 1050°C (1922°F), ht:
11cm (4V4in). Photo: courtesy of the artist.
100
CONE 04 MATT GLAZES 1060-1100°C (1940-2012°F) 101
CONE 04-03 MATT GLAZES 1060-1100°C (1940-2012°E)

Cone 04 fired in oxidation (unless stated otherwise).
The following test tiles were made from Valentine’s low-fire white earthenware.
White satin matt (Tony Hansen) 1060°C (1940°F)

Borax frit 44
Dolomite 8
China clay {2
Whiting 8
Quartz 28
Stony cream matt (Emmanuel Cooper) 1060°C (1940°F)

Lithium carbonate 8
Barium carbonate 23
China clay 25
Flint 14
Stony turquoise matt (Emmanuel Cooper) —1060°C (1940°F)

Lithium carbonate 8
Barium carbonate 23
China clay 25
Flint 14
Copper oxide |
Cloudy semi-transparent 1060°C (1940°F)

Borax frit 5//
Zinc oxide 3
China clay 20
Flint 10
Titanium oxide 5
- 102 EARTHENWARE GLAZES (CONE 06-03) =
Smooth white matt 1060°C (1940°F)

Soda feldspar Dit
Whiting 20
Quartz 23;
China clay 6
Cream matt (Lucy Burley) 1060°C (1940°F)

Borax frit 45
FFF feldspar 15
Barium carbonate 10
China clay 30
Turquoise matt (Lucy Burley) 1060°C (1940°F)

Borax frit 45
FFF feldspar (Ss
Barium carbonate 10
China clay 30
Copper oxide ]
Olive green matt (Lucy Burley) 1060°C (1940°F)

Borax frit 45
FFF feldspar 15
Barium carbonate 10
China clay 30
Copper oxide ]
Nickel oxide 0.5
Satin matt white
Calcium borate frit
Soda feldspar
Whiting
China clay
Quartz
Cloudy pale pink

Calcium borate frit
Soda feldspar
Whiting
Quartz
China clay
Tin oxide
Rutile
Cloudy maroon pink 1060°C (1940°F)

Soda feldspar
Whiting
China clay
Quartz
Tin oxide
Chromium oxide
104 EARTHENWARE GLAZES (CONE 06-03)
CONE 06-03 SHINY GLAZES 990-1100°C (1814-2012°F)
Shiny transparent 1060°C (1940°F)

Soda feldspar 27
Whiting 5
China clay 6
Quartz 23
Shiny opaque white 1060°C (1940°F)

Soda feldspar Dif
Whiting 5
China clay 6
Quartz 23
Shiny grey 1060°C (1940°F)

Borax frit 44
Talc 8
Whiting 8
China clay 12
Quartz 28
Cobalt oxide 0.5
Manganese dioxide 2
lron oxide 2
Shiny black 1060°C (1940°F)

Borax frit aA
Talc 8
Whiting 8
China clay 12
Quartz ys)
Cobalt oxide
Manganese dioxide
lron oxide )
Chromium oxide |
Shiny opaque yellow 1060°C (1940°F)

Soda feldspar 27
Whiting 5
China clay
Quartz Ds
Yellow stain S
Shiny opaque orange 1060°C (1940°F)

Soda feldspar 27
Whiting 5
China clay 6
Quartz 23
Yellow stain 3.05
Red stain 25
Shiny opaque red 1060°C (1940°F)

Soda feldspar Dy,
Whiting 5
China clay
Quartz 23
Red stain 5
Shiny opaque pink 1060°C (1940°F)

Soda feldspar Di
Whiting 5
China clay 6
Quartz 23
Red stain OS
Shiny red-purple 1060°C (1940°F)

Soda feldspar Dy
Whiting 5
China clay
Quartz 23
Red stain 5
Shiny purple 1060°C (1940°F)

Soda feldspar Di
Whiting 5
China clay 6
Quartz 23
Red stain 5
Shiny dark purple 1060°C (1940°F)

Calcium borate frit 39)
Soda feldspar Dy
Whiting 5
China clay 6
Quartz 23
Cobalt oxide 0.1
Bright transparent turquoise 1060°C (1940°F)

Borax frit 75
China clay 15
Flint 10
Copper oxide |
Bright transparent green 1060°C (1940°F)
Borax frit 15
China clay 15
Flint 10
Chromium oxide 0.2
Transparent turquoise (Emmanuel Cooper)

1060-1100°C (1940-2012°F)
Borax frit 50
Soda feldspar 35
Whiting 5
China clay 4
Flint 6
Copper oxide ]
Transparent dark green 1060°C (1940°F)

Borax frit 50
Soda feldspar 35
Whiting 5
China clay 4
Flint 6
Copper oxide 1
llmenite 5
Shiny pale green 1060°C (1940°F)

Soda feldspar Di}
Whiting 5
China clay 6
Quartz 23
Chromium oxide 0.2
Shiny opaque pale green 1060°C (1940°F)

Soda feldspar 27
Whiting 10
China clay 6
Quartz 23
Tin oxide 5
Chromium oxide 0.1
Shiny turquoise 1060°C (1940°F)

Soda feldspar Dy
Whiting 5
China clay
Quartz 23
Copper oxide 1
Shiny duck-egg blue cone 03 - 1100°C (2012°F)

Soda feldspar Dy,
Whiting 5
China clay 6
Quartz 23
Copper oxide ]
Titanium oxide 5
aeeeeeeeeeeeeeee
Cloudy yellow-brown 1060°C (1940°F)
Soda feldspar Dy
Whiting 5
China clay 6
Quartz 23
Rutile p)
Cloudy grey-brown 1060°C (1940°F)
Soda feldspar Di
Whiting 5
China clay 6
Quartz 23
llmenite 5
Shiny speckled pink-brown 1060°C (1940°F)

Soda feldspar Dif
Whiting 5
China clay 6
Quartz 23
Shiny opaque red-brown cone 03 — 1100°C (2012°F)

Soda feldspar 27
Whiting 5
China clay 6
Quartz D3
Chromium oxide 0.2
Titanium dioxide 5
Shiny pale lavender blue 1060°C (1940°F)

Soda feldspar 27
Whiting 5
China clay 6
Quartz 23
Cobalt oxide 0.1
Satin matt lavender blue 1060°C (1940°F)

Borax frit 44
Talc 8
Whiting 8
China clay 12
Quartz 28
Cobalt oxide 0.5
Shiny opaque grey-blue cone 03 - 1100°C (2012°F)

Soda feldspar 27
Whiting 5
China clay
Quartz D3
Rutile 2
Transparent honey glaze (Hannah McAndrew) cone 03

1100°C (2012°F)
Lead sesquisilicate 76
Red earthenware clay 15
China clay 5
Flint 6
yy 2
i [9 allt RIN ea,

Hannah McAndrew,
white slip on red
earthenware clay:
(left) black slip trailed
on white slip; (right)
white slip trailed on
black slip. Photo:
courtesy of the artist.
4: Raku low-temperature glazes (cone 09)
Raku is a low-temperature firing where red-hot pots are removed from the kiln with
tongs and placed in sawdust. If covered completely in sawdust, the pots will undergo
post-firing reduction, and metallic lustre effects can be obtained from copper
carbonate or silver nitrate.
Raku glaze tests were made by Gill Tennant-Eyles from Earthstone white stoneware
clay with copper slip in the upper left corner (ball clay 85, flint 15, copper oxide 3)
and porcelain slip in the lower right corner. Test pieces were fired to 900°C (1652°F),
removed from the kiln while hot, and one left in the air to smoke on top of sawdust,
the other covered in sawdust so that post-firing reduction of the glaze could take
place. Spraying with water encouraged fine crazing.
Gill Tennant-Eyles, Sea shard, 2012. High-alkaline frit-based glaze, raku-fired to 900°C (1652°F).
Photo: courtesy of the artist.
111
112 RAKU LOW-TEMPERATURE GLAZES (CONE 09)
Transparent medium crackle glaze

Borax frit base glaze (Left) post-firing reduction;
Borax frit 85 (right) smoked, water-sprayed.
China clay Ms Fine crackle where sprayed.
Bentonite 5
Transparent glaze, large crackle

Calcium borate frit 85 (Left) post-firing reduction;
China clay 1S (right) smoked.
Bentonite 5
RAKU LOW-TEMPERATURE GLAZES (CONE 09) 113
Transparent fine crackle glaze

High-alkaline frit 85 High-alkaline frit (upper right half
China clay 15 diagonally) over soft borax frit
pour > (Left) smoked, water-sprayed. Fine crackle
over where sprayed.
Borax frit 85 :
(Right) post-firing reduction, showing
China clay iS
metallic copper from underlying slip.
Bentonite 5

Borax frit 85 Soft borax frit (upper right half
China clay 15 diagonally) over high-alkaline frit
Bentonite 5 (Left) smoked, water-sprayed;
over ; : ;
(right) post-firing reduction.
High-alkaline frit 85 ie 2
China clay 5
Bentonite 5
114. RAKU LOW-TEMPERATURE GLAZES (CONE 09)

Good primary and secondary crazing
High-alkaline frit 42.5 (Left) smoked;
Soft borax frit 425 (right) post-fire reduction.
China clay 15
Bentonite 5
White semi-opaque crackle glaze

High-alkaline base glaze (Left) smoked;
High-alkaline frit 85 (right) post-fring reduction, showing
China clay 15 metallic copper from underlying slip.
Bentonite 5
+ tin oxide 5
White opaque crackle glaze with fine crazing

High-alkaline base glaze (Left) smoked,
High-alkaline frit 85 (right) post-fring reduction.
China clay (5
Bentonite 5
+ tin oxide 10
White opaque crackle glaze

High-alkaline base (see above) Borax frit base reduces crazing.
+ tin oxide 10 Circular crazing pattern where
under borax frit base glaze (see p.112) glaze is thicker in central spiral.
applied ina spiral. ery emcee
(right) post-fring reduction.

Pale turquoise crackle glaze

High-alkaline base (see p.115) Both post-firing reduction after slight
+ copper carbonate 15 air cooling;
(right) smoked in sawdust for longer
Bright turquoise crackle glaze

High alkaline base (see p.115) Both post-firing reduction after slight
+ copper carbonate DS air cooling
Mid-turquoise crackle glaze

High-alkaline base (see p.115) Post-firing reduction after
+ copper carbonate 3/5 air cooling
Dark turquoise crackle glaze

High-alkaline base (see p.115) Both post-firing reduction after
+ copper carbonate 5 air cooling
Bright blue crackle/metallic copper

High-alkaline base (see p.115) (Left) smoked;
+ copper carbonate 25 (right) post-fring reduction
+ cobalt carbonate S nn
Mottled opaque turquoise/mottled metallic copper

High-alkaline base (see p.115) (Left) smoked;
+ tin oxide 10 (right) post-firing reduction
under high-alkaline base
+ COpper carbonate 2
Rich turquoise crackle

High-alkaline frit 70 (Left) smoked;
China clay 10 (right) post-firing reduction after
Lead bisilicate 16 air cooling.
Bentonite |
Copper carbonate 3
Pale satin duck-egg blue

Borax frit 42.5 (Left) post-firing reduction;
High-alkaline frit 425 (right) smoked.
China clay (5
Bentonite
+ tin oxide 15
+ copper oxide (OS
Bright chrome green

Borax base glaze (Left) post-fring reduction;
Borax frit 85 (right) smoked.
China clay
Bentonite
+ copper oxide
over porcelain slip
Pale copper green

Borax base (see above) (Left) post-firing reduction;
+ copper oxide (right) smoked.
+ Rutile
Very pale lime green

Borax base (see opposite, top) (Left) post-fring reduction;
+ lime-green stain ] (right) smoked.
Rich copper green

Borax base (see opposite, top) (Left) post-firing reduction;
+ lime-green stain | (right) smoked.
+ copper oxide 1
5: Clay body recipes ee 8
Many potters buy readymade clay bodies or mix several different commercial
bodies together. However, it is useful to know what goes into a clay body, and
to that end several recipes are given here. In order to mix a clay body, mix the
powdered ingredients with water in a blunger (see glossary), sieve and dry to a
usable consistency, and then add the larger particles of grog, sand or feldspar before
wedging or putting the mixture through a pug mill.
Valentine Clays’ Audrey

Blackman porcelain.
EGYPTIAN PASTE 900-1040°C (1652-1904°F)
Egyptian paste is a self-glazing body in which soluble salts migrate to areas of the
surface exposed to the air during drying to form a glaze when fired to around
1000°C (1832°F). The layer of salts acts as a flux, glazing the surface and helping to
vitrify the clay body at low firing temperatures. The paste is difficult to work with
but can be used to make beads and jewellery. Slow and even drying ensures good
sodium coverage and glaze effect. Kiln shelves should be coated liberally with batt
wash before firing. The following Egyptian paste tests were made by Mirka Golden-
Hann and students at Salisbury Arts Centre.
122
1. Nigel Wood Egyptian paste 1 2. Nigel Wood Egyptian paste 1
1000°C (1832°F) 1000°C (1832°F)
Turquoise blue, reliable body Bright cobalt blue, reliable body
Potash feldspar 42 + Copper carbonate 2
Quartz 42 + Cobalt carbonate 0.5
China clay 6
Sodium bicarbonate DS
Sodium carbonate 25
Bentonite 5
+ Copper carbonate 3
3. Egyptian paste 3
1040°C (1904°F) 4. Egyptian paste 4
1040°C (1904°F)
Turquoise blue, mottled surface
Light turquoise, mottled surface
Sodium carbonate (soda ash) 6 Flint 25
Sodium bicarbonate 6 Quartz 25
Ball clay 6 Bentonite 33
Flint ay Sodium carbonate (soda ash) 17
Bentonite 2 + Turquoise stain 7
124 CLAY BODY RECIPES
1. Nigel Wood Egyptian paste 2 2. Nigel Wood Egyptian paste 2

900°C (1652°F) 900°C (1652°F)
Turquoise, stiff body Blue, stiff body
White bentonite 48 + Copper carbonate 4
Quartz 48 + Cobalt carbonate 0.5
Sodium carbonate (soda ash) 4
3. Nigel Wood Egyptian paste 1

4. Egyptian paste 5
1000°C (1832°F)
1040°C (1904°F)
Dark blue-black, reliable body
Yellow, melted body
(Recipe 1 from p.123)
Soda feldspar 39
+ Black stain 5 Silica 39
Ball clay 2
Sodium carbonate (soda ash) 6
Sodium bicarbonate 6
+ Yellow stain 3
This recipe was less successful than
the others but is included to show the
addition ofyellow stain
CLAY BODY RECIPES -125
CLAY BODY RECIPES

(Earthenware, bone china, porcelain, stoneware)
Ian Pirie white talc body cone 06-01 1150°C (2102°F)

A white earthenware clay body for throwing, handbuilding and raku firing
Hyplas 71 ball clay 50
China clay [5
Talc 20
FFF feldspar 5
Flint 10
John Wheeldon black basalt body cone 7

1215-1240°C (2219-2264°F)
HVAR ball clay 55
China clay is
Molochite 30
Manganese dioxide 343
Red iron oxide 33
Copper oxide 1.6
Cobalt oxide 1.6
Stoke-on-Trent Bone china cone 8

1250°C4{2282-F)
A very white body fired bisque to 1250°C (2282°F), glaze
firing to 1080°C (1976°F), suitablefor casting
Bone ash 50
Cornish stone 25
China clay Ds
Audrey Blackman porcelain cone 9

1270-1280°C (2318-2336°F)
A plastic porcelain body for modelling and throwing
Imerys super-standard porcelain china clay 55
White bentonite 5
FFF feldspar 27
Quartz WW,
Whiting
David Leach porcelain cone 9
1260-1300°C (2300-2372°F)
Suitable for throwing
Imerys standard porcelain china clay 53
Potash feldspar 25
Quartz 7
Quest white bentonite 3
Will Levi Marshall white stoneware cone 10 1300°C (2372°F)

Suitable for handbuilding and throwing large ware
Grolleg china clay 40
Potash feldspar iis
Silica 5
Molochite 80s 10
Molochite 120s 15
Bentonite |
Harry Davis stoneware cone 10

1300°C (2372°F)
Stoneware body for salt firing
Hyplas 71 ball clay V5
China clay 24
Cornish stone ]
Lisa Hammond clay mix cone 10-12 1280-1300°C (2336-2372°F)

Stoneware body for soda-fired functional ware
AWS/1G white stoneware clay containing 10% sand (Spencroft clays) 46
PF550 Svend Bayer wood-fire body (Valentine clays) 46
V9G Grogged stoneware clay (Valentine clays) 4
Buff sand 4
CLAY BODY RECIPES 127
Lisa Hammond, soda-fired teapot, 2012. 14 x 11cm (5%2 x 44in).

Photo: Jonathan Thompson.
ANAGAMA CLAYS EOR WOOD-FIRING (CONE 10-14)

1300-1400°C (2372-2552°F)
Ben Brierley high-flux stoneware

yplas 71 ball clay 35
ymod AT ball clay 10
China clay 22
Quartz is
Ben Brierley, lidded

box with crackle shino
glaze, 2012. Anagama-
fired, 23 x 14cm (9 x
5¥2in). Photo: by the
artist.
é
~ANAGAMA CLAYS FOR WOOD-FIRING (CONE 10-14) 129
Ben Brierley high-flux porcelain

Hyplas 71 ball clay (5
Quartz 10
Ben Brierley, porcelain

vase, 2009. Anagama-
fired, 22 x 9cm (874 x
3%4in). Photo: by the
artist.
Ben Brierley high-flux big ware

ESVA ball clay 24
Hymod AT ball clay 2
Quartz (2
Molochite 6
Cordierite (1-3mm) 7
White Forshammer feldspar chips 2 handfuls per 100kg
Pink Mountsorrel granite 2 handfuls per 100kg
Ben Brierley, Gestural

Vessel, 2011. Titanium
ash glaze. Anagama-
fired, 40 x 26cm (15374 x
10%in). Photo: by
the artist.
ANAGAMA CLAYS FOR WOOD FIRING (CONE 10-14) 131
Stoneware sculpture clay Joanne Barlow cone 9 1280°C (2336°F)

for modelling and sculpture
Suitable
Ball clay 50
China clay 25
Crank clay 35)
chomotte, grey stain

Joanne Barlow, Raku houses covered with mortar, 2012. Made from clay,
from clays with various inclusions: frits, lepidolite,
and alumina, with ‘Pebbledash’' render, made
granite, soda-fred in reduction to 1260—-1280°C
spodumene, petalite and Indian Lavender Blue
(2300-2336°F). Photo: courtesy of the artist.
Glossary
alkaline frit a frit containing sodium, potassium and silica
ball clay fine-grained, plastic secondary clay
ball mill a rotating drum containing ceramic pebbles for grinding colouring
oxides in glazes
base glaze a glaze to which colouring oxides are added
batt wash a mixture of alumina hydrate and china clay, which prevents glaze from
sticking to the kiln shelf
bentonite a very plastic clay, used to suspend glazes
borax frit a frit containing sodium, calcium, boron and silica
biscuit firing a first firing, usually to around 1000°C (1832°F), done before
applying a glaze
blistering blisters in a fired glaze, caused by gas escaping during firing
bloating blisters in the clay body, caused by trapped bubbles of gas
blunger machine with rotating paddles for mixing clay with water
calcine to heat materials in a kiln to drive off volatile compounds
celadon a type of pale, grey-green or blue-green glaze containing iron oxide
china clay kaolin (pure white clay)
Chun a pale blue, opalescent glaze
CMC carboxymethy] cellulose gum, used to suspend glaze ingredients in water
cone a small, slender pyramid of glaze material, set in the kiln, which bends over
when fired to the correct temperature
Cornish stone a type of feldspar found in Cornwall
crank a heavily grogged clay used for sculpture
crawling a defect where glaze pulls away from the body, leaving bare patches
crazing a network of fine cracks caused by a higher coefficient of expansion in the
glaze than in the clay body
crystalline a glaze in which crystals have grown during cooling
deflocculate to cause fine particles in suspension to repel each other to make the
glaze more fluid
earthenware fired to a low temperature, below 1150°C (2102°F), where the clay
body remains porous
Egyptian paste clay body in which soluble salts migrate to the surface while
drying to form a glaze when fired
feldspar a mineral derived from granite containing potassium, sodium and
alumino-silicate. Some kinds contain calcium or lithium
flashing colour resulting from volatile compounds released during firing
flocculate to cause fine particles in suspension to attract each other and
clump together
flux a material that lowers the melting temperature of a glaze
foot-ring an unglazed ring of clay on the base ofapot
132
GLOSSARY 133
frit glaze fluxes melted with silica and ground to a powder

greenware unfired pots
grog coarsely ground, fired clay added to clay bodies to reduce shrinkage
molochite finely-ground, calcined china clay
opacifier a material that does not dissolve in a glaze, causing the glaze to become
opaque
oxidation firing in the presence of sufficient oxygen, usually in an electric kiln
pinholes small holes in a glaze, caused by burst bubbles that have not healed over
during firing
porcelain a white clay fired to 1250-1400°C (2282-2552°F), becoming translucent
and vitrified.
Raku a type of low-fired earthenware which is removed from the kiln while hot
raw glaze glaze applied to greenware, either leatherhard or bone dry
reduction the act of limiting the air available during firing, so that oxygen is
drawn from the clay and glaze
salt firing introducing salt into the kiln at high temperature, to combine with
silica in the clay and produce a glaze on the surface
Shino a thick white Japanese glaze made from feldspar and clay
shivering glaze flaking off at rims and the edges of handles, caused by poor glaze
fit, with the glaze contracting less than the clay body
silica silicon dioxide, found in quartz, flint or sand
slip clay mixed with water
soak maintaining the top firing temperature so as to mature the glaze evenly
throughout the kiln
soda firing introducing soda (sodium carbonate) into the kiln at high temperature
to combine with silica in the clay to produce a glaze on the surface
stain industrially produced ceramic pigment containing colouring oxides and
opacifiers
stoneware fired to a high temperature, above 1200°C (2192°F), so that the clay
body is vitrified and non-porous
tenmoku a brown-black, high-iron glaze
vitrify to fire to a glassy state
Appendix 1: Ceramic materials list
CERAMIC MATERIALS AND CHEMICAL FORMULAE
|
Material Formula
Alumina ae
Alumina hydrate Al(OH),
Barium carbonate BaCO,
Bentonite ALO ASOLO
Bone ash (calcium phosphate) Ca,(PO,),

Borax Na,0.8,0,.10 H,O
|Boric oxide
Calcium borate
Cerium oxide
China clay ALO,.2SiO,,2H,O

Colemanite 2Ca0.3B,0,.5H,O
Cornish stone K,O.ALO,.8SiO,
Chromium oxide GEO,
Cobalt oxide CoO
Copper oxide CuO
Cordierite (MgFe),ALSi.O,.
Dolomite |CaCO,.MgCO,
Erbium oxide a
Feldspar soda (albite) Na,O.AlO,.6SiO,
Feldspar potash (orthoclase) K,O.AI,O,.6SiO,

Feldspar lime (anorthite) CaO.AlO,.2Si0,
Fluorspar CaF,
llmenite Ieee
lron (ferric) oxide (red) FeO.
lron (ferrous) oxide (black) FeO
Lead bisilicate PbO.2SiO,

Lead oxide (litharge) 3 PbO
134
CERAMIC MATERIALS AND CHEMICAL FORMULAE 135
Material Formula
Lead sulphide (galena) PbS
|Lead sesquisilicate 2PbO.3Si0,

Lepidolite LIFKFAIO,.3SiO,
|Lithium carbonate Li.CO.
| agnesia Th gO
=
ie etires carbonate oe
anganese dioxide nO,
eodymium oxide Nd,O,

pNepiens syenite K,0.3Na,O4Al,0,.85i0,
Nickel oxide iO
Petalite Li,O.AI,O,.8SiO,
=
Praseodymium oxide Heel
o)
Quartz _[s0,
Rutile |TIO,
Silicon carbide |SiC
jee SiO,z a
| Spinel MgALO,
Spodumene LLOALO! 45i0;
Strontium carbonate SCO).

= =) 2
ders (magnesium silicate) 3MgO.4Si0.,.H,O0

=|
Tin oxide SnO,
Titanium dioxide (anatase) TiO,
Vanadium pentoxide |v.o,
Sea (calcium carbonate) CaCO,
ORES ONIES (calcium silicate) Casio;
Zinc oxide
[ | ZnO
|Zirconium silicate ZisiO},

Appendix 2: UK and US materials conversion chart
Some materials have no direct equivalent but can be substituted with a combination
of several other materials.
UK |
USA
Ball clay HVAR
Devon ball clay |Kentucky OM-4 ball clay
Ball clay Hymod AT

|
High-iron Dorset ball clay Kentucky OM-4 ball clay
Ball clay Hyplas 71
High-silica Devon ball clay |Tennessee ball clay
Bentonite Bentonite, Macaloid, Veegum x

seein
Borax frit Ferro 3134, Pemco P—54, Gerstley borate
Calcium borate frit Ferro 3124, Ferro 3195, Colemanite

China clay Edgar plastic kaolin (EPK), Tile 6 kaolin, Georgia kaolin
Cornish stone Cornwall stone

Feldspar FFF Custer feldspar plus Kona F-4 or nepheline syenite
Feldspar potash Custer feldspar, G-200, K-200 :
Feldspar soda Kona F—4, NC 4, Minspar 200, Unispar 50
Flint Silica
Fremington red clay Redart clay, Alberta slip “|
High-alkaline frit Ferro 3110, Pemco P-25
Low-expansion frit Ferro 3249
Quartz Silica
Zirconium silicate Zircopax, Superpax, Ultrox

oes
eee
136
Appendix 3: Orton pyrometric cone temperatures
Pyrometric cones measure heat work, and so depend on the heating rate. A slower
temperature rise will cause the cone to bend at a lower temperature.
Cone no. 60°C/hour 108°F/hour 150°C/hour 270°F/hour

ee a ik |
09 917 683 928 702
E 08 942 728 954 749
07 973 eaves 984 805
06 | 905 | __ 1823 985 852
es 030 886 046 |
04 060 1940 070 958
| 03 | 1086 987 01 lStpesedacn dl
02 oe 20 2048
01 7 2043 37 2079
ie 1 | 36 [2077 | 54 2109
2 42 2088 | 62 2124
3 52 2106 68 2134
: 4 | 60 2120 | 81 2158
5 84 2163 205 2201
220 2228 F 244 2266
7 237 2259 | __ 1255 2291
8 247 ere: 269 B16
oa 257 2295 278 2332
0 282 ee 303 2377
293 2359 312 2304
2 | 1304 ge | 324 2415
3 a 321 ees 346 | 25s
4 366 2530 388 2491
137
Appendix 4: Suppliers
UK Scarva Pottery Supplies
Unit 20,
Bath Potters’ Supplies Scarva Road Industrial Estate,
Unit 18, Fourth Avenue, Banbridge, County Down,
Westfield Trading Estate, Northern Ireland,
Radstock, Nr Bath, BT32 3QD
Somerset, Tel: +44 (0)28 406 69699
BA3 4XE www.scarvapottery.co.uk
Tel: +44 (0)1761 411077
www.bathpotters.co.uk Sneyd Ceramics
Sneyd Mills, Leonora Street,
Ceramatech Burslem,
16-17 Frontier Works, Stoke-on-Trent,
33 Queen Street, Staffordshire,
London N17 8JA ST6 3BZ
Tel: +44 (0)208 885 4492 Tel: +44 (0)1782 814167
www.ceramatech.co.uk www.sneydceramics.co.uk
CTM Potters Supplies Spencroft Ceramics

Unit 10A, Mill Park Industrial Estate, Holditch Industrial Estate,
White Cross Road, Spencroft Road,
Woodbury Salterton, Stoke-on-Trent,
BX leK Staffordshire,
Devon, ST5 9JB
1S) NEIL Tel: +44 (0)1782 717305
Tel: +44 (0)1395 233077 www.spencroftceramics.co.uk
www.ctmpotterssupplies.co.uk
Top Pot Supplies
Potclays Barnfield, Fulford Road,
Brickkiln Lane, Etruria, Fulford,
Stoke-on-Trent, Staffordshire,
Staffordshire, SELEIOT
ST4 7BP Tel: +44 (0)1782 399990
Tel: +44 (0)1782 219816 www.toppotsupplies.co.uk
www.potclays.co.uk
Valentine Clays
Potterycrafts The Sliphouse, 18-20 Chell Street,
Campbell Road, Hanley,
Stoke-on-Trent, Stoke-on-Trent,
Staffordshire, Staffordshire,
ST4 4ET ST1 6BA
Tel: +44 (0)1782 745000 Tel: +44 (0)1782 271200
www.potterycrafts.co.uk www.valentineclays.co.uk
138
SUPPLIERS 139
USA AND CANADA Hammill & Gillespie,

154 South Livingston Avenue,
Amaco — American Art Clay Company PO Box 104
6060 Guion Road Livingston, NJ 07039
Indianapolis, IN 46254-1222 Tel: +1 (800) 454 8846
Tel: +1 (317) 244 6871 www.hamgil.com
www.amaco.com
Laguna Clay Co.
Bailey Ceramic Supplies 14400 Lomitas Avenue,
62-68 Tenbroeck Avenue, City of Industry, CA 91746
Kingston, Tel: +1 (800) 452 4862
New York 12401 www.lagunaclay.com
Tela S45)339°3 721
www.baileypottery.com Mile Hi Ceramics
77 Lipan,
Bracker’s Good Earth Clays, Denver, CO 80223
1831 E. 1450 Road Tel: +1 (303) 825 4570
Lawrence, KS 66044 www.milehiceramics.com
Tel: +1 (785) 841 4750
www.brackers.com Minnesota Clay Co.
7429 Washington Avenue S.,
Clay Planet Edina, MN 55439
1775 Russell Avenue, Tel: +1 (952) 884 9101
Santa Clara, CA 95054 www.minnesotaclayusa.com
Tel: +1 (800) 443 2529
www.clay-planet.com Plainsman Clays
702 Wood Street SE,
Columbus Clay Co. Medicine Hat,
1080 Chambers Road, Alberta,
Columbus, OH 43212 Canada,
Tel: +1 (866) 410 2529 T1A 1E9
www.columbusclay.com Tel: +1 403-527-8535
Creative Clay
5704E General Washington Drive,
Alexandria, VA 22312
Tel: +1 (703) 750 9480
www.creativeclaypottery.com
140 APPENDIX 4: SUPPLIERS
LABORATORIES FOR LEACH-TESTING OF GLAZES
Ceram Research Brandywine Science Center

Queens Road, Penkhull, 204 Line Road,
Stoke-on-Trent, Kennet Square,
Staffordshire, PA 19348,
SIAL FALQ, USA
UK www.bsclab.com
Tel: +44 (0)1782 76428
www.ceram.com
Alfred Analytical Laboratory

* 4964 Kenyon Road,
Alfred Station
New York, NY 14803,
USA
Tel: +1 (607) 478 8074
Bibliography
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Britt, John, The Complete Guide to High-fire Glazes: Glazing & Firing at Cone 10
(Lark Books, 2004).
Constant, Christine and Ogden, Steve, The Potters Palette (Quarto, 1996).
Cooper, Emmanuel, Clays and Glazes, The Ceramic Review Book ofClay Bodies and
Glaze Recipes (Ceramic Review, 2001).
Cooper, Emmanuel, ‘Cool, Calm and Collected: Celadon blue glazes explored,
Ceramic Review 194, p. 51, March/April 2002.
Cooper, Emmanuel, Cooper's Book of Glaze Recipes (Batsford, 1987).
Cooper, Emmanuel, The Potter's Book of Glaze Recipes (A&C Black, 2004).
Cooper, Emmanuel and Royle, Derek, Glazes for the Studio Potter (Batsford, 1984).
Currie, Ian, Revealing Glazes Using the Grid Method (Bootstrap Press, 2000).
Fraser, Harry, Glazes for the Craft Potter (A&C Black, 1973).
Hamer, F & J. The Potter’s Dictionary of Materials and Techniques, fourth edition
(A&C Black, 1997).
Durability, Fit
Hesselberth, John and Roy, Ron, Mastering Cone 6 Glazes: Improving
and Aesthetics (Glaze Master Press, 2002).
Leach, Bernard, A Potter’s Book (Faber and Faber, 1940).
Murfitt, Stephen, The Glaze Book (Thames and Hudson, 2002).
Parmelee, C.W., Ceramic Glazes, rev. by C.G. Harman, third edition (Cahners
Publishing Company, 1973).
1973).
Rhodes, Daniel, Clay and Glazes for the Potter (Krause Publications,
Taylor, J.R. and Bull, A.C., Ceramics Glaze Technology (Pergamon Press, 1986).
Wood, Nigel, Chinese Glazes (A&C Black, 2007).
141
Index
ash glazes 9, 22, 34-37 crystalline 12, 24, 25, 30-31, 34, 35,
37-38, 59-62, 64, 72-74, 76, 85
Bailey, Michael 60, 74, 77, 85
ball clay 11, 111 Davis, Harry 126
barium matt 24, 70-72, 79
Barlow, Joanne earthenware glazes 100-110
Raku house covered with mortar 131 earthenware clay body 26, 125
Blackman, Audrey 43, 125 Egyptian paste 122-124
blistering 12, 27
bloating 27 feldspar 9; 118222) 26,102
Bloomfield, Linda firing 9, 14516, 20,24) 25527,.29,43 757,
nesting pouring bowls 7 Wk, NOs, WA, 2, WP
porcelain bowls 24 flashing slip 54
thrown porcelain 29 Hux 9512524526527 47 122 18130
nesting porcelain bowls 58 Flynn, Sara 53
thrown porcelain cups on a tray 84 Forrester, Bernard 34
cake stands with turquoise glazes 90 frit «951 1122 22, BAG 0739. ei
bone ash 12, 24, 27 115
bone china 12, 125
Brierley, Ben Golden-Hann, Mirka 43, 47, 122
lidded box with crackle shino glaze porcelain bowls fired to cone 9 46
128 interactive colour play 9
porcelain vase 129 grass ash 11
Gestural Vessel 130
Burley, Lucy 102 Hammond, Lisa 54
tall jug 55
celadon 17, 43-45, 99 baking dishes 56
chrome-tin pink 15, 62, 73 tall bottle 57
chromium 14, 15, 16, 22 soda-fired teapot 127
Chun 89 Hansen, Tony 101
cobalt 16, 17, 23, 38-39, 60, 97, 98, 123 Hanssen Pigott, Gwyn
colouring oxides 14, 15, 16-17, 22, 23 Alone 6
cones 25, 29 Howells, Joanna 12
Cooper, Emmanuel 70, 72, 79, 101, 107
copper 14, 15, 16, 23, 47 ilmenite 17
copper red 41, 47, 96, 111 iron oxide 16-17, 23, 43
crackle 25, 36, 91, 94, 112-119
crawling 27 Leach, Bernard 33
crazing 11, 25, 26, 33, 111, 114-115 Leach, David 32, 126
cross blend 23 lead 12, 22
142
INDEX 143
line blend 23 raw glazing 25

liner glaze 54 reduction 14, 25, 29, 41-42, 43, 47, 54,
57, 68-69, 81-83, 98-99, 111
magnesium matt 59-63, 65 rutile 17,24
manganese 16, 17, 22, 23, 93 :
Marshall, Will Levi 91, 126 salt fring 126 |
matt glazes 11, 20, 24,27, 30=32, scales 18
101-103 Shino 57
McAndrew, Hannah 26 shiny glazes 24, 33-39, 84-95, 104-110
white slip on red earthenware clay 110 shivering 26
mid-temperature range glazes 25,58-99 soda firing 54, 126
Myers, Emily spray glazes 21
Faceted bottles 63 stains 17
Blue Rocking Pot 67 stoneware clay body 126
stoneware glazes 9
iCKelie Al Gul 76 222 streaking 12, 17, 24
opacifier 17 Tennant-Eyles, Gill

Ostman, Lasse 94 Sea-shard 111
oxidation 14, 25, 35-37, 40, 65-67, thickness= 19523, 29354; 57, 15
79-81, 82, 84, 89, 96-97 tin oxide 17, 27, 47
titanium dioxide 24
Parry, Stephen triaxial blend 23
Nuka cup 36
pinholes 27 vanadium pentoxide 17, 22
Pirie, lan 125
porcelain 38, 43, 60, 62, 71, 77, 84, 111, Wheeldon, John 125
25501265. 129 Williams, Emma
Priestman, Andrew Medium form with neck 100
wood-fired porcelain beaker 33 wood ash 9, 11
three porcelain beackers 34 Wood, Nigel 123-124
iallew DS, Willi zinc oxide 12, 24, 27, 39

rare earth oxides 17 zirconium silicate 17
sonnel
ee
~~ ahi. i
The Handbook of Glaze Recipes is an essential studio companion for any potter. |
Covering a comprehensive range of glazes including porcelain, crystalline and
raku as well as stoneware and earthenware, each recipe is illustrated with a
useful test tile to demonstrate the effects of opaque, matte, and transparent
glazes on different clays and at varying temperatures, and numbered for ease
of reference. The book also features an introduction to the basics of mixing,
applying and adjusting glazes, and correcting typical glaze faults. It also includes
many clay body recipes, including a variety of ones for porcelain, wood firing
and even Egyptian paste. Compiled by studio potter and glaze expert Linda
Bloomfield, and based not only on years of meticulously recorded tests, but
also researched from a large assortment of established ceramic artists, The
Handbook of Glaze Recipes is a must-have resource for any potter wishing to
experiment or expand their glazes and clay bodies.
LINDA BLOOMFIELD has been involved with pottery since 1973, although
her career path led her to train as a materials scientist. She received a BSc in
Engineering Science and a PhD in Materials Science from Warwick University,
UK. After stints as a visiting scholar at MIT and as researcher in Tsukuba, Japan
and London, she set up her current studio in London in 2001. Since 2003 she
has been selling through galleries across the UK and internationally, and her
tableware is stocked by Liberty and David Mellor. She is a frequent contributor
to Ceramic Review and is the author of two previous books, Colourin Glazes
(Bloomsbury, 2011) and Contemporary Tableware (Bloomsbury, 2013).
Cover photographs: Main image by Henry Bloomfield. Back cover inserts,

left to right: Emily Myers, Blue Rocking Pot. Photo:
ee oR Bem at eS BY
courtesy of the artist; Gwyn Hanssen Pigott, A/one.
ISBN 978-1-912217-48-9
AVN
Ph The American Book Center: sake stands
jilable
www.bloomsbury.com
10% discount for students Bloomsbury
teachers and members

Bloomfield, Linda (Potter) - The Handbook of Glaze Recipes - 2018 - London - Bloomsbury Visual Arts

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NDBOOK OF

ish 43, ARS dey RTs lp OM Pen ees

50 Bedford Square 1385 Broadway

First published by Bloomsbury Publishing in 2014

© Linda Bloomfield 2014

All rights reserved. No part of this publication may be reproduced or

British Library cataloguing-in-publication data

ISBN: HB: 978-1-912217-48-9

Commissioning editor: Kate Sherington

SECTION 1: GLAZING — AN OVERVIEW

Firing: oxidation, reduction

SECTION 2: GLAZE RECIPES

2: Stoneware/porcelain mid-temperature-range glazes (cone 6-8)

4: Raku low-temperature glazes (cone 09) iu!

5: Clay body recipes 122

Appendix 1: Ceramic materials list 134

Appendix 2: UK and US materials conversion chart 136

Appendix 3: Orton pyrometric cone temperatures 7,

Appendix 4: Suppliers 138

Gwyn Hanssen Pigott, Alone, yellow-white translucent porcelain, wood-fired

All photos are by Henry Bloomfield unless otherwise stated.

Linda Bloomfield, nesting pouring bowls, porcelain, dia: 20cm (8in).

Glaze materials: alumina, silica, feldspars,

opposite Linda Bloomfield glazing a large bowl.

Lower-temperature glaze materials include frits, made by melting together fluxes,

Silicon dioxide tetrahedron. The

THE SCIENCE OF COLOUR IN GLAZES

closest to the nucleus. In transition metals, it is possible for electrons to jump to

Shosen, stoneware bowls, made in Japan, 1990s. Coloured crackle glazes

Rutile and ilmenite

Rare earth oxides

Dipping a mug into glaze.

Pouring glaze onto the outside of a bowl.

Earthenware is usually fired to around 1060-1150°C (1940-2102°F). Raku is fired to

Firing temperature can be measured using pyrometric cones, slender pyramids of

Orton cones before and after firing.

Dolomite matt translucent cone 9

Satin matt white cone 9

Dolomite matt white cone 9

Crystalline matt white cone 9

Crystalline matt lavender blue cone 9

Satin matt grey-blue cone 9

Crystalline grey-blue cone 9

Crystalline matt blue cone 9

Dolomite matt pale blue cone 9

David Leach matt purple cone 9

Dolomite matt translucent cone 9

Matt pale pink cone 9

CONE 9-10 SHINY GLAZES 1280°C (2336°F)

Adapted from Bernard Leach transparent glaze cone 10 reduction

Adapted from Bernard Forrester ash glaze cone 10 reduction

Stable transparent glaze cone 9-10

Green runny ash glaze cone 9 oxidation (on porcelain)

Runny ash glaze _ cone 9 oxidation (on stoneware)

Pale yellow semi-transparent ash glaze on porcelain oxidised

Pale green semi-transparent ash glaze oxidised

Semi-transparent blue-green ash glaze oxidised

Transparent blue ash glaze oxidised

Crystalline transparent runny ash glaze on stoneware oxidised

Transparent green ash glaze on white stoneware oxidised

Transparent green-blue ash glaze on stoneware oxidised .

opposite Stephen Parry, Nuka Cup, wood-fired

Crystalline transparent cobalt blue cone 8