These are the glazes that Steven introduced us to for creating the layered effects for which he is renown. This is the place to post modifications for these glazes, and other glazes that you have found to work well with SCM and SCM for orange.



2-D blue sprayed very thinly over the other layered glazes can produce a "snowflake effect.

And following are companion glazes that Steven has used on his pots.




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Regarding Pier Black: Try subbing a soda spar like Kona F4 or NC 4 or Minspar for the Custer. The alumina and silica appear to be within cone 6 range. In fact the silica is low for even a cone 6 glaze. The magnesia may be a bit high; but may work with the soda spar. If that doesn't work, you can add another 5% gerstley borate or borax. These are just a few suggestions for a quick fix without having to back engineer the whole formula.



Is the listing of Cobalt Carbonate correct on the "Water Color Blue" glaze? It seems that should be Cobalt Oxide instead. I think Cobalt Carbonate will make it more pink. Am I missing something?

Both carb and oxide will color the same. The carbonate is just weaker - about 64% or so as strong as the oxide. Cobalt only goes  pinkish in the presence of tin in a high magnesia glaze; and actually, it's can be  lavender and not pink.


Thanks for the explanation June. That really helps.

For the record Steven Hill seems to have modified these recipes in the past several months.  The "latest" versions are on the PDF's on his new DVD.  Jen's Juicy Fruit now contains some Frit 3124 as does SCM and Hannah's Fake Ash.  My guess is that he did this to get slightly better melting.  In, Hannah's, for example, he dropped the Redart to 56 parts, added 5 parts of 3124 and balanced it out by dropping the Whiting to 29 parts.  Incidentally, the DVD is probably worth the cost if you are a real fan of his work.


I am a big fan of his work, and I am interested in expanding my glaze choices to include SCM, but I am looking into spraying and dipping bisqued pieces with SCM. Is his recipe going to work for me or is it only formulated for once fire???

Any help would be appreciated,


Rob Addonizio

I've never heard of a problem from using the glazes on bisque ware.  The glazes listed above are from 2009.  He was firing hotter then. He has new glaze formulations specifically for cone 6 as a pdf addendum on his new DVD. Highly recommended. Also you should be using a very light/white stoneware or porcelain clay to avoid muddying the colors.

Does anybody have the recipe for the Bailey's Red that SH uses as a liner in his video.  It is not one of the recipes on the video.


Hi Sylvia,

Someone else asked this question recently and I wrote down the recipe when it was replied to.

This is what I have in my book

Bailey's Red

Potash Feldspar       46.7

China Clay                4

Bentonite                 2

Bone Ash                15

Lithium Carb             4

Talc                      16.9

Flint or Quartz         11.4

Red Iron Ox             11.5


Hope this helps.

I have tried this recipe several times, (different thickness application, specific gravities) but still no good red, unless it gets refired in with a bisque load.  I have just plain RIO, but I am wondering if spanish red, or crocus martis would be better.

Has anybody found that this is necessary?  I am slated to do some progression line tests soon with this recipe using my standard RIO, and I will see where that takes me...

Any comments appreciated.


Rob Addonizio

Taiko-Earth Pottery

I wonder if this is like C Harris Tenmoku and would benefit from the "Special Red Iron Oxide"?

I have found that electric fired iron saturate phosphorus (bone ash) containing glazes require Steven Hill type cooling for the iron phosphate crystals to "pop".  Fast cooling produces the typical muddy brown glaze.  Clay body has some bearing, also.  I did some tests on B-Mix 5 in my small computer controlled test kiln and had gorgeous results:  red-gold crystals on orange-red semi-matte background.  No other clay produced anything like this.  Sadly, it did not scale up to my computer controlled Skutt kiln even with an identical firing schedule.  The only thing I can attribute this to is that the Skutt simply won't drop from about 2160F to 1700F as fast as the small kiln.  My guess is that the the "shock cooling" produces tiny crystals that grow in the 1700 to 1500 (with holds) range:  Less shock cooling = less larger red-gold crystals.



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