does anyone have any idea what this beautiful glaze is? I love how it interacts with the clay body.

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Great glaze. You might take the picture to an chinese restaurant to see if it offers more information or maybe someone on "cone 6" can read it. I think it is Chinese by the shape of the letters but I could be wrong. good luck.

Me again. I have a cone 6 glaze that is about that color, maybe a bit more Turquoises.  I am not sure where I got it it may be from "Glaze Master" I had their software for awhile. Val Turquoises; Dolomite 4,Ger Borate 22 ( I would use Frit Ferro 3195 instead) Whiting 11,Custard feldspar 36,silica 27. Copper Carb 3% bentonite 1%  Also there is a discussion about Val Turquoies at the bottom left hand side of the main page. It is a different recipe. I haven't compared the two yet. I bet the one on the picture is cone 10

I love Glaze Master software.

I've tried Val's turquoise matte, which I love but is obviously not shiny like this. It is also much darker.

What I really like about this glaze (aside from the amazing color) is how it breaks orange near the edges.

Thanks so much for your reply!

Shine - if you email me picture to me I will ask some friends of mine if they can read it or know what the glaze is.


Hi Shine, I love the same things about this glaze.  The beautiful color, with the orange edges and glossy nature of it makes me go gaga.


I have a question, The writing says " transparent blue and modern scarlet" Sometimes in reduction firing red will not go red, on stoneware it will go a soft gray. If this is on porcelain maybe we are looking at a  "Scarlet" glaze that didn't reduce the way it was expected. The white could be a glaze and not  a clay body. Otherwise where is the scarlet? the over lay of the two  glazes might be making the orange on the edge. Just food for thought. Ain't clay fun, Kabe

hm. like a copper red? I could see that.

This is the only picture that I have.

I was looking at this again today and had a friend of mine look at it too He thought that it was the clay body and that the orange was just sort of pulled out of the clay in the firing or in a reduction.  We do not know how it was fired. If it was another glaze, instead of a clay body, the highth of the blue raised above the white would not be so pronouced.   Where did you get the picture, if you do not mind me asking? Happy firing, Kabe

Well so much for my expertise in recognition of foreign script. As I was saying maybe you could take this to a Japanese steakhouse to see if it offers more information. Looks Japanese to me by the shape of the letters. Ha Ha.  And looking at the other work on the link, so much for my unreduced scarlet glaze theory.  I would think ( maybe that's the problem) that now that you/we have a name we could at least find out how it was fired. Thanks for sharing the link. happy firing

It could also be a fuming effect. At high temperature parts of a glaze evaporate and travel away from the glaze surface. My guess is that some of that vapor was recaptured by the exposed clay. It captured more right at the edge of the glaze and the effect tapers off with distance from the glazed area.
I have seen matte white turn pink where the white pot was fired close to another pot that had a chrome green glaze. Some of the chrome oxide fumed off the green pot and was captured by the white glaze, and basically turned it into a chrome/tin pink.

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