The Sankey Glaze Database

Reproduced here with permission.

Version 15 June 2009

If you have trouble viewing the file online you can download this text file and look at it in a word processor or text editor program. Sankey Glazes.txt

This database is a tribute to Alisa Clausen of Denmark, who has tested most of the glazes presented here in a consistent way and so generously shared her work with the world.

All glazes in this database have published formulae and have been tested as noted. Essentially all of Clausens tests were done substituting Johnson Matthey frit 169 on a gram for gram basis for Gerstley borate and for all boron frits, also substituting Feldshammer feldspar for listed feldspars. All glazes are for electric (oxidizing) firing unless otherwise stated. Almost all were published on the ClayArt mailing list, which should be used to contact individuals mentioned.

Glazes with similar compositions have been merged using the alternate names field. Names have been regularised to avoid duplication, to include the surname of the originator and the colour. Ingredients are as published and often do not add to 100, with or without colorants. Proprietary ingredients have been replaced by generic names when appropriate; for example Zircopax and Ultrox are both zirconia. Many old names are used for common pottery ingredients - a single one for each is used here with preference given to standard chemical names. For example all modern flint of which I am aware is refined silica, whiting is now pure calcium carbonate. Following modern requirements, glazes with lead or cadmium are excluded; those with more than 10% BaO are labelled as potentially toxic.

You may modify this database for personal use and modify or distribute individual recipes as you wish; there is no copyright on recipes. The most recent version will be found at http://sankey.ws/glazedata.html and a mirror at http://web.ncf.ca/bf250/glazedata.html

There are related projects at
Clayart
Flickr, Alisa Clausen and
PotteryBasics, Alisha Clarke.

New submissions, reviews of existing glazes, and other comments and corrections may be submitted via my contact page or via the Clayart list.

The format is designed to permit numeric analysis and searching by any text search system or similar analysis program, see for example the related glaze analysis page. It is also designed to be imported into any well-designed database system. As a result, the database proper has to avoid all HTML markup, so is included in a PRE container. When viewing with an HTML browser, if the text runs off the right side of your window, decrease the font size (the View->Text Size option in Internet Explorer) as required. The oxide analysis of ingredients used is in the Sankey Oxide Database.

The format of this data is

A: Behrens Clear Cone 016
B: Richard Behrens
C: 016
E: 43.6 frit,Pemco 25
E: 26.3 frit,Ferro 3134
E: 14 silica
E: 9.9 lithium carbonate
E: 6.3 kaolin,EPK
H: Bill Merrill: one of the lowest melting glazes I have used. Use copper for floating tints, try everything with this glaze! Fired a little
higher it is clear and reveals the clay body colour. I have used this glaze on and off since 1970.

A: Wilson Red Moss
B: Ceramic Arts Buyers Guide, 2007 Lana Wilson
C: 06
D: cool maximum rate to 900C hold 1 hour
E: 60 lithium carbonate
E: 40 talc
E: 6 manganese dioxide
E: 2 Bentonite
E: 2 frit,Ferro 3124
G: runs
H: Alisa Clausen: fired to cone 6. Use 3% manganese for light orange, 6% for strong orange and 10% for a dark red. Apply thickly, up
to 1/4 inch to yield red, thinner yields black. As pretty much expected, at cone 6 the glaze ran off the test tile (which was only glazed
1/3 of the way down) and pooled at the bottom edge of the upright tile. I was just interested to see how much.

A: Wilson Purple Aqua
B: Ceramic Arts Buyers Guide, 2007 Lana Wilson
B: similar oxides to Horsley Aqua
C: 06
D: cool maximum rate to 900C hold 1 hour
E: 45 barium carbonate
E: 45 nepheline syenite
E: 5 copper carbonate
E: 4 frit,Ferro 3124
E: 2 Bentonite
F: matte
G: potentially toxic
H: Alisa Clausen: fired to cone 6. Mat, smooth and covering glaze. Colour ranges from a deep and bright blue where thickest to a
turquoise where thinner. I wanted to see if a glaze made up a glaze core, nepheline syenite and an alkaline earth flux, barium
carbonate, and no boron, could fire higher and not run off the test. It succeeded. It seems that this combination could be fired even
higher. At 1220C feels and looks mature.

A: Behrens Matte
C: 05
E: 40.2 frit,Pemco 54
E: 25.3 Wollastonite
E: 21.8 kaolin
E: 7.1 lithium carbonate
E: 5.6 silica
F: matte
H: Sharon LaRocca-Miranda: used Ferro 3134 instead of Pemco. Adding 5 vanadium stain gives a lovely satin mat citron yellow,
results with mazarine blue stain and copper carbonate (both 5%) were equally as good.

A: Cone 04 Base
B: The Potters Pallette pg.8
B: similar oxides to Frit EZ clear
C: 04
E: 75 frit,Ferro 3124
E: 15 kaolin,EPK
E: 10 silica
F: gloss
H: John Hesselberth: a very stable glaze.
H: John Sankey: I use this regularly with added stain for brush lettering over cone 6 glazes.

A: Textured Green
B: Edouard Bastarache
C: 04
E: 46 frit,Ferro 3134
E: 12 feldspar,F-4
E: 11 kaolin,calcined
E: 10 kaolin
E: 7 zinc oxide
E: 7 silica
E: 5 dolomite
E: 4 rutile
E: 0.875 cobalt oxide
E: 1.75 chrome oxide
F: gloss
H: Edouard Bastarache: dark green,rutile lightens it a bit

A: White Brown Ash
B: Sylvia Shirley adapted by Alisa Clausen
C: 04-6
E: 50 ash,hardwood
E: 20 frit,Johnson Matthey 169
E: 15 feldspar,Forshammer
E: 10 zirconia
E: 2 Bentonite
H: Alisa Clausen: a smoothly melted, transparent glaze with thicker areas of white. Toasty brown under transparent areas.

A: Cushing Base 1
B: Cushing Handbook 1994 Smooth Satin/Mat Base
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 45 nepheline syenite
E: 18 calcium carbonate
E: 20 kaolin,EPK
E: 12 zinc oxide
E: 5 silica
F: gloss
G: crazing
H: Alisa Clausen: glossy, transparent base, crazed badly on white midrange stoneware, oxides did not move under glaze.
With 10 zirconia, glossy, white glaze, crazed on white midrange stoneware, oxides did not move under base.
With 2 cobalt carbonate, glossy, dark blue glaze, no visible crazing.
With 1 cobalt carbonate plus 2 chrome oxide, semigloss, dark green glaze, no visible crazing.
With 1 copper carbonate, very glossy, transparent glaze, light green, crazed.
With 10 ochre, slightly less glossy, ochre brown glaze, slight crazing.
With 10 red iron oxide, slightly less glossy, dark brown glaze, no visible crazing.
H: Steve Slatin: some of the Cushing glazes are formulated for the far edge of what works. My favourite, Rusty Bronze done as green
runs at cone 6, and if you have a cool at all slow it gets very matte, but if you turn off your kiln at cone 5½ and do a fast cool, you get a
fabulous mix of glossy where thick and microcrystalline with a nice texture shift where thin. And one percent of bentonite in the glaze
bucket just changes it entirely.

A: Cushing Base 2
B: Cushing Handbook 1994 cone 4/5/6 Leadless
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 35 feldspar,F-4
E: 28 borate,Gerstley
E: 18 silica
E: 8 barium carbonate
E: 8 calcium carbonate
E: 8 kaolin,EPK
F: gloss
H: Alisa Clausen: Transparent gloss, oxides did not move under glaze.
With 1 copper carbonate, transparent gloss light blue/green glaze.

A: Cushing Base 3
B: Cushing Handbook 1994 cone 5/6 Alkaline Mat
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 30 nepheline syenite
E: 25 frit,Ferro 3110
E: 10 calcium carbonate
E: 10 kaolin,EPK
E: 10 silica
F: gloss
G: crazing
H: Alisa Clausen: used Johnson Matthey J frit instead of 3110. Glossy transparent base which crazed badly. Oxides became very fluid
under glaze.
With 1 copper carbonate, glossy transparent light green glaze, crazed and oxides became extremely fluid and runny under glaze.
With 5 red iron oxide, glossy transparent light yellow glaze, crazed.
With 1 manganese dioxide, glossy transparent glaze, slightly purple, crazed.

A: Cushing Base 4
B: Cushing Handbook 1994 cone 5/6 Satin Mat
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 25 nepheline syenite
E: 25 frit,Ferro 3110
E: 20 calcium carbonate
E: 15 kaolin,EPK
E: 15 silica
F: semimatte
H: Alisa Clausen: used Johnson Matthey J frit instead of 3110. Semi mat, smooth, whitish base, oxides did not move. Oxides showed
through and did not move. Smooth, silky texture and a good mat surface, without being dry. All oxides tested in base resulted in a
speckled surface.
With 10 zirconia, semi mat, smooth white base, oxides showed through and did not move.
With 2 cobalt carbonate, semi mat, smooth deep blue with lighter flecks.
With 2 chrome oxide plus 1 cobalt carbonate, semi mat dark green with light blue flecks, reversed where thinner.
With 1 copper carbonate, semi mat olive green/brown with light green flecks, reversed where thinner.
With 10 ochre, semi mat yellow ochre.
With 10 red iron oxide, semi mat deep ochre brown with lighter flecks.

A: Cushing Base 5
B: Cushing Handbook 1994 cone 5/6 Stone mat
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 50 nepheline syenite
E: 15 silica
E: 10 barium carbonate
E: 10 kaolin,EPK
E: 5 frit,Ferro 3110
E: 5 lithium carbonate
F: matte
H: Alisa Clausen: used Johnson Matthey J frit instead of 3110. Mat, milky base. Oxides are visible but slightly muted by covering
glaze. Glazes appear slightly under fired. Can see higher areas of thicker glaze, for example, where it dripped. Not melted in.
With 3 copper carbonate, mat, light green glaze with slightly darker areas where thinner.
With 5 red iron oxide, mat, yellow glaze.
With 3 chrome oxide, mat, dark green glaze, brown where thinner. Appears under fired.

A: Cushing Base 6
B: Cushing Handbook 1994 cone 5/6 Barium Stone Mat
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 60 nepheline syenite
E: 24 barium carbonate
E: 6 kaolin,EPK
E: 5 silica
E: 5 lithium carbonate
F: matte
G: underfired,potentially toxic
H: Alisa Clausen: mat, milky glaze, oxides are visible but slightly muted. All of the tests appear under fired.
With 3 copper carbonate, mat, strong turquoise in colour, smooth. Thick to thin application shows a visible difference.
With 1 chrome oxide, under fired, bright yellow colour with a slight light green cast.
With 0.5 manganese dioxide, mat, purplish with specks, smooth and appears melted.

A: Cushing Base 7
B: Clay -Times, March/April 2005 Val Cushing
B: similar oxides to Xavier Satin Matte
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 40 feldspar,Custer
E: 16 silica
E: 16 calcium carbonate
E: 10 kaolin,EPK
E: 9 frit,Ferro 3134
E: 9 talc
F: gloss
H: Alisa Clausen: With 2 titanium dioxide plus 1.2 cobalt carbonate plus 1.2 copper carbonate, gloss, slightly variegated, medium
denim blue glaze with slight green cast. Covering. Where thickest, glaze is a semi mat and greener in colour.
With 1.2 cobalt carbonate, slightly less glossy, a semi gloss, smooth glaze. A purple blue, with some lilac on the thicker areas. No
green.
With 2 titanium dioxide plus 1.2 cobalt carbonate, gloss, medium blue glaze. Colour is the brightest blue of three tests.

A: Cooper Smooth White Base
B: Clay Times, Nov/Dec. 2004
C: 5-8
D: cool maximum rate to 800C hold 1 hour
E: 37 feldspar,potash
E: 37 silica
E: 15 calcium carbonate
E: 8 kaolin,EPK
E: 3 Bentonite
F: semigloss
H: Alisa Clausen: Semi gloss, white covering glaze. Iron specks in glaze body showed through.
With 1 black copper oxide, gloss slightly dark celadon green.
With 1 cobalt oxide, gloss dark blue.
With 10 red iron oxide, semigloss overall mottled surface. Caramel brown gloss where thickest, matter rust brown where thinner.

A: Cooper Matte Base
B: Clay Times, Nov/Dec. 2004
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 55 feldspar,potash
E: 20 silica
E: 10 lithium carbonate
E: 10 calcium carbonate
E: 5 ball clay
F: gloss
H: Alisa Clausen: With 0.25 cobalt carbonate, gloss medium blue. Transparent and iron specks from clay body come through.
With 1 cobalt carbonate plus 1 copper carbonate, semimat, smooth glaze, very dark blue with slight crystal formation on surface. Very
covering and opaque.
With 2 copper carbonate, gloss, pale green glaze. Crazed over all.
With 10 red iron oxide, gloss, breaking very dark brown to black.

A: Cooper Frosty White Speckled Base
B: Clay Times, Nov/Dec. 2004
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 60 nepheline syenite
E: 20 frit,Ferro 3134
E: 18 calcium carbonate
E: 2 Bentonite
F: gloss
G: crazing
H: Alisa Clausen: white under a glassy shell. Crazed over all.
With 2 copper carbonate, gloss green glaze, ran a lot and adhered to test plate under tile. Crazed over all.
With 1 cobalt carbonate, gloss dark blue glaze, ran, and moved to reveal bare spots on test tile. Did not drip off tile, but shows large
drips ca. 2 cm. from bottom of glaze border.
With 5 red iron oxide, gloss glaze with cream cast, crazed over all.
With 10 ochre, gloss, yellowish shell over white ground, big glassy, crazed drips under bottom border of glaze, but did not drip off test
tile, crazed over all.
With 10 tin dioxide, gloss white glaze, no visible crazing.
With 10 zirconia, gloss white glaze. Glaze sinks into iron specs in clay body. Slightly brighter than tin dioxide.
With 10 red iron oxide, gloss shell over light beige ground. Crazed over all.

A: Cooper Wide Firing Base
B: Clay Times Nov/Dec. 2004
C: 5-8
D: cool maximum rate to 800C hold 1 hour
E: 73 nepheline syenite
E: 10 silica
E: 5 dolomite
E: 5 Bentonite
E: 4 calcium carbonate
E: 3 zinc oxide
F: matte
H: Alisa Clausen: mat white glaze. Iron specs. show through glaze. Covering and even.
With 1-2 black copper oxide, mat, dark green glaze, with lighter green, feathered, gloss streaks. Brown mat where thin, green gloss
where thickest.
With 1.5 cobalt oxide, semimat medium blue where thinner, lilac mat where thickest.

A: Gartside Base
B: Brian Gartside, converted to weights by John Sankey
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 29 frit,Ferro 3134
E: 24 kaolin,EPK
E: 15 silica
E: 15 feldspar,G-200
E: 9 calcium carbonate
E: 8 talc
F: gloss
H: Alisa Clausen: the original was 4 parts by volume frit, 4 parts EPK, 2 parts silica, 2 parts feldspar, 1 part calcium carbonate, 1 part
talc. Transparent gloss, colours very well. I think the sheer spectrum of colours that resulted from this base, gives a good incentive for
those who seek not to have many, many glazes in their studios, but rather a couple of bases they can colour. Personally, I think that is
an excellent idea, as I too, have two to three bases that I use regularly, and colour as I need them. I usually have a few kilos dry glaze
of each base, so that I can mix smaller amounts with colouring oxides. This base liked RIO, Titanium and Rutile, giving some very
exciting colour responses. 5 rutile, and 1 Cobalt, 4 Rutile, 2 RIO showed very nice breaking contrasts in colour. 10 RIO yielded an
especially beautiful Tenmoku glaze, with dramatic breaking contrasts.
With 1 cobalt oxide, translucent vivid blue.
With 2 cobalt oxide, translucent darker vivid blue.
With 3 rutile plus 1 cobalt oxide, translucent brownish green ground, with vivid opalescent blue areas where thickest.
With 3 red iron oxide plus1 cobalt oxide, translucent, brownish green.
With 5 ochre plus 1 cobalt oxide, translucent, dark blue glaze with a slightly black denim cast.
With 3 rutile, semi translucent glaze, creamy beige to yellow colour. White and slightly opalescent shell over ground colour.
With 5 rutile, opaque, gloss, soft white glaze, breaking beige. The glaze appearance goes from white where thickest, to a breaking
colour where the thick white disperses to tiny bubbles of white, which gives a fur appearance, and then finally all of the white
disappearing to yield a beige gloss, where it is at its thinnest.
With 3 rutile plus 3 copper carbonate, translucent, sage green (muddy celadon) gloss, breaking clear.
With 3 copper carbonate, translucent, medium green, gloss. Many translucent areas without much colour in ground green colour.
With 4 rutile plus 2 red iron oxide plus 1 cobalt oxide, opaque, light blue gloss glaze with some yellowish streaking where thickest,
over a brown ground with a green cast, where thinnest and breaking. Glaze breaks with a dramatic colour contrast from brown where
thinnest, to a smooth, milky blue where thickest. These colorants are the same as Floating Blue or Blue Hare.
With 10 red iron oxide, opaque, gloss glaze that is a tenmoku colour. Overall, the glaze is a deep black, flushed with brown where
thinner or breaking. The brown areas have broken and dispersed edges as it they lead into the thicker black areas.
With 5 red iron oxide, semi opaque, gloss glaze. Overall dark brown colour where thickest, lighter brown similar to above where
thinner. Breaking contrast is not as dramatic as above.
With 10 ochre, translucent gloss, glaze. Greenish yellow in overall cast.
With 10 tin dioxide, opaque, gloss, soft white glaze.
With 10 zirconia, opaque, gloss white glaze. Not as white as Tin, but slightly creamy in colour.
With 10 titanium dioxide, semi opaque to translucent gloss, glaze. White where thickest, giving way to a yellow ground under the
white, where thinnest. Breaks, in high contrast to the white areas, a yellow-green to orange colour.
With 5 titanium dioxide plus 5 red iron oxide, semi opaque, gloss glaze. Medium brown ground where thinnest, fur-like beige and
green where thickest. Breaks brown.
With 3 black nickel oxide, semi opaque, gloss glaze, dark caramel in colour. Where slightly thicker, glaze is more fluid and pools to a
bluish green fur like surface.
With 1 tin dioxide plus 1 cobalt oxide, translucent, gloss dark blue glaze.
With 5 red iron oxide plus 2 cobalt oxide, opaque, gloss glaze. Black where thinnest, begins to turn browner where thickest.
With 10 zinc oxide plus 2 black nickel oxide, opaque, gloss glaze. Medium caramel ground colour where thinnest. Signs of
bluish-green pooling where thickest.
H: Ron Roy: the expansion of this glaze is high enough I would expect occasional crazing and/or crazing when the glaze is thick on
many clay bodies. I also expect some crazing during a fast cool when thick, even if the glaze expansion is low enough to not craze
otherwise.

A: Lewis Semimatte Base
B: ClayTimes Grace Lewis
B: similar oxides to Clausen Semimatte Base
C: 6
D: hold 1 hour at 800C
E: 20 frit,Ferro 3134
E: 20 dolomite
E: 20 feldspar,F-4
E: 20 ball clay,OM-4
E: 20 silica
F: semimatte
H: Alisa Clausen: used Frit J for 3134. A smooth, semi mat milky glaze. Waxy and Vellum quality.
With 2 cobalt carbonate, lavender blue.
With 2 cobalt carbonate plus 1 tin dioxide, white lavender blue.
With 2 chrome oxide plus 1 cobalt carbonate, teal green.
With 10 rutile, beige and pink fur.
With 10 red iron oxide, brown with some breaking black.
With 10 zirconia, bright white

A: Smooth Base
C: 6
E: 27 feldspar,Custer
E: 21 dolomite
E: 16 kaolin
E: 12 nepheline syenite
E: 10 borate,Gerstley
E: 9 spodumene
E: 5 Wollastonite
F: matte
H: Alisa Clausen: a covering white satin matt, very similar to the ToDo white I use often. Some areas with narrow rivulets of compact,
tight crystals. Oxides Cobalt, RIO, black stain, Chrome and Ocher showed well but muted under the glaze, with mostly diffused edges.
The Chrome is a dark tan. The glaze is thick and white, a soft white, not a stark white. It has a nice smooth feel and is matt without
being dry. It is almost waxy. Same glaze test made with local frit subbed for G.B. with similar results. This test showed a very similar
glaze and oxide effect, however glaze is slightly glossier than the recipe with G.B. With 1 cobalt oxide, very similar to Lotte Blue. A
lavender blue with darker blues where thinner, more pink and lavender where thickest. A lot of nuances throughout the matt surface.
With 3 rutile plus 1 cobalt oxide, a mottled light blue glaze with light green splotching. Although the surface has a lot of colour play,
over all, it has a pale blue colour. Interesting mild colour changes from pale blue to pale green where thickest and from brown to dark
blue where thinnest.
With 5 red iron oxide, this was surprising, an overall tan glaze with fairly bright but dirty yellow streaking. The glaze is matt but where
thickest (yellow), it has a glimmer. I have seen RIO in many shades of tans and browns and reds, but this is very yellow, like a summer
squash.
H: John Sankey: this glaze is very low in silica for stability.

A: Butter Base
B: similar oxides to Clear Satin Matte and Moore White Matte
C: 6
E: 36 feldspar,Custer
E: 20 frit,Ferro 3124
E: 16 talc
E: 20 kaolin,EPK
E: 8 Wollastonite
F: gloss
H: Alisa Clausen: used Frit 623 for Frit 3124. With 5 rutile plus 3 tin dioxide, smooth, rutile yellow/beige gloss. On test with clay that
has iron flecks, flecks were very visible under glaze. Where the glaze is thinner, it is overall slightly more beige than yellow. Where
thickets, it becomes a lighter, brighter yellow. Where thick and thin meet, there are smooth streaks of yellow. Very well melted.
With 10 titanium dioxide plus 5 rutile, same as with tin, but slightly less streaking, slightly less white in outer edges of streaks.
With 20 titanium dioxide plus 10 rutile, glaze is stiffer. No streaking.

A: Touchstone Base
B: same oxides as Annie Tan, similar to Randy Blue, Rita Schiavones Periwinkle and Rhoades White Satin Matte
C: 6
E: 32 borate,Gerstley
E: 30 silica
E: 20 feldspar,G-200
E: 15 talc
E: 5 kaolin,EPK
F: gloss
H: Alisa Clausen: With 15 red iron oxide, gloss glaze with many colour nuances. Rust brown base with streaking in darker browns and
slightly green browns. Edges have a bluer nuance. Some areas under surface are honey brown. Where very thick, the glaze ran in large
drips. Moved and pooled where very thick, but otherwise stayed where dipped.
With 5 red iron oxide, semi matte glaze that is yellowier where thicker, browner where thinner. Many nuances, did not move.
With 10 ochre, overall yellowish glaze where thicker, shiny. Where thinner, browner and matter. Where very thick, it crazed.
With 3 cobalt carbonate, lavender semi matte glaze where thickest, bluer where thinner. With 5 rutile plus 3 cobalt carbonate, medium
green semi gloss base with bright, cornflower blue crystals where thicker. Lovely contrasts.
With 5 rutile plus 5 red iron oxide plus 3 cobalt carbonate, similar to above, but some movement where the edges of glaze are dark
blue. Glaze is more fluid, instead of distinct crystals like above, the lighter blue is in streaks.

A: VC Gloss Base
C: 6
E: 40 silica
E: 24 nepheline syenite
E: 12 borate,Gerstley
E: 11 dolomite
E: 7 kaolin,EPK
E: 4 calcium carbonate
E: 2 zinc oxide
E: 2 Bentonite
F: gloss
H: Alisa Clausen: used Frit 623 for G.B. A clear gloss glaze that is shiny but not brilliant. Has a soft sheen.
With 12 titanium dioxide, a tile white gloss glaze, well covering.
With 6 black copper oxide plus 0.5 cobalt carbonate, a semi matt, mottled, smooth surface. The overall colour is a medium green with
a bluish nuance. Very well covering.
With 0.5 cobalt carbonate, a gloss, cobalt blue that is uniform where thickest.
With 6 tin dioxide plus 2 cobalt carbonate, a gloss, mottled, medium blue/violet. Well covering where thickest.
With 12 ochre, a gloss, yellow glaze where thickest and browner where thinner. Well covering and smooth.
With 6 rutile plus 3 red iron oxide plus 1 cobalt carbonate, a gloss, medium brown. Where thickest the glaze has a paler fuzzing on the
surface.
H: John Sankey: bleached all red Mason stains I tried with not even a trace of colour left, but works well with their yellows and
browns.

A: Hansen 20Wx5 Base
B: Tony Hansen 20x5 by weight instead of by volume
C: 6
E: 20 feldspar,Custer
E: 20 frit,Ferro 3134
E: 20 Wollastonite
E: 20 kaolin,EPK
E: 20 silica
F: gloss
H: Alisa Clausen: used Johnson Matthey J frit instead of 3134. A gloss, covering glaze.
With 1 cobalt carbonate plus 0.5 chrome oxide, a gloss, covering teal green glaze.

A: Clausen ToDo Base
B: Alisa Clausen revision Tony Martens Dolomite white
B: same oxides as ToDo Base 1, similar to ToDo Base
C: 6
E: 50 nepheline syenite
E: 25 dolomite
E: 20 ball clay
E: 6 Wollastonite
F: matte
H: Alisa Clausen: With 10 black stain, a smooth, black matt, greenish where very thin. Medium grey stain gave a smooth, dark grey
matt.
With 10 red iron oxide, really smooth, clinging iron brown with some darker and lighter areas depending on application. Very
traditional looking iron semi matt. Good feel to surface. Adding 4 rutile made little difference.
With 10 ochre, one shade lighter than Clausen ToDo Base Brown, same smooth, matt surface with a good feel.

A: Clausen Semimetallic Base
B: Alisa Clausen
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 65 clay,Redart
E: 20 borax
E: 10 dolomite
E: 5 silica
F: metallic
H: Alisa Clausen: A gloss, covering dark black brown. Breaks transparent over high areas on test tile.
With 2 cobalt carbonate, a well covering, semi gloss, metallic, even black glaze Needs to be thick.
With 5 rutile, a gloss, covering dark brown mustard colour glaze. Breaks transparent over high areas on test tile.
With 5 rutile plus 2 cobalt carbonate, very similar to version with just cobalt, but overall surface has a slight sparkle. Colour is not as
even and on very close examination, can see dark blue speckles.

A: Clausen Semimatte Base
B: Alisa Clausen
B: similar oxides to Lewis Semimatte Base
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 20 clay,Redart
E: 20 dolomite
E: 20 feldspar,Feldshammer
E: 20 frit,Ferro 3134
E: 20 silica
F: semimatte
H: Alisa Clausen: A semi mat glaze that is cream in colour with a yellow cast. It also has crystals on the surface, giving the surface a
slight sparkle. Where it pools, it is glassy.
With 2 cobalt carbonate, a semi mat, dark gray glaze that is covering and smooth.
With 5 rutile plus 2 cobalt carbonate, a semi mat glaze that is a bluer gray than the original. The surface has crystals, giving the surface
a slight sparkle.
With 5 rutile, a gloss glaze under a cream, streaked shell. Blue opalescent areas where thickest. Breaks clear.

A: ToDo Base
B: Tony Martens
B: similar oxides to Clausen ToDo Base
C: 5-8
E: 50 nepheline syenite
E: 25 dolomite
E: 20 ball clay
E: 5 calcium carbonate
F: matte
H: Tony Martens: may give crystals if cooled slowly.
H: Alisa Clausen: white matt glaze with toasty brown edges where thin. Stable, no discernable difference when dipped twice. Very
nice feel. This glaze is very similar to Selsor Waxy White in both colour and feel, but this recipe is G.B. free. Can not get enough of
that feel! Do not see any crystals. Not scratch resistant.
With 5 rutile plus 1 cobalt carbonate, a taupe/green ground with light blue speckling. Also some light green high spots when dipped
twice.

A: ToDo Base 1
B: ToDo White revised
B: same oxides as Clausen ToDo Base
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 49 nepheline syenite
E: 25 dolomite
E: 20 ball clay
E: 6 Wollastonite
F: semimatte
H: Alisa Clausen: white, semi matt, waxy, covering glaze. Stable and very smooth to the touch. More scratch resistant than ToDo
White, but still not truly hard.
With 1 cobalt carbonate, mat, pale lilac, opaque glaze, smooth surface.
With 1 cobalt carbonate plus 1 tin dioxide, mat, deeper lilac, opaque glaze, smooth surface.

A: White Bird Base
B: Clay Times July/August 2004
C: 5-7
D: cool maximum rate to 800C hold 1 hour
E: 47 nepheline syenite
E: 23 borate,Gerstley
E: 10 dolomite
E: 10 ball clay
E: 7 tin dioxide
E: 3 zirconia
F: gloss
H: Alisa Clausen: an opaque white gloss glaze. The original specifies any combination of tin dioxide and zirconia to add up to
10-12%. I am sure the test with these opacifiers in different proportions will alter the overall surface and colour response of this glaze.
With 4 rutile, white gloss with slight yellow cast.
With 6 rutile, white yellowish gloss.
With 3 copper carbonate, light green gloss.
With 1.5 cobalt carbonate, runny opacified blue.
With 1.2 cobalt carbonate plus 0.4 chrome oxide, teal green gloss.
With 1 red iron oxide, yellowish gloss, darker tan where it stayed in grooves of test tile.

A: Galloway SB Base
B: Clay Times, May/June 2004 Some Bright Green Julia Galloway
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 40.91 feldspar,Custer
E: 31.82 strontium carbonate
E: 11.82 ball clay
E: 9.09 zinc oxide
E: 6.36 calcium carbonate
F: matte
H: Alisa Clausen: With 3 copper carbonate, stony mat bright copper green, with darker olive green where thickest.
With 3 cobalt carbonate, stony mat deep dark blue. Iron specs in clay body show through as spread out rust spots, this otherwise
covering glaze.
With 2 rutile, stony mat white with a yellow cast where thinner. Iron specs in clay showed through.
With 1-3 red iron oxide, stony mat dark caramel rust.

A: Opal Base
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 30 spodumene
E: 20 silica
E: 14 borate,Gerstley
E: 13 talc
E: 7 dolomite
E: 5 kaolin,EPK
F: matte
H: Alisa Clausen: With 6 rutile plus 1 manganese dioxide, underlying glaze is a mat tan. Over the mat tan ground is a streaky white
and opalescent gloss shell. Overall, the glaze is tan with white, feathery streaking.
With 2 cobalt carbonate, dark blue purple mat.
With 4-6 copper carbonate, semi mat glass green.

A: Dolita Clear Base
B: Alisa Clausen
C: 6
E: 30 frit,Johnson Matthey 169
E: 30 kaolin,EPK
E: 15 silica
E: 10 ball clay
E: 15 dolomite
G: running, crazing
H: Alisa Clausen: Base: translucent, gloss.
With 1 cobalt carbonate, translucent, gloss, medium blue.
With 3 cobalt carbonate, translucent, gloss, dark blue, running.
With 1 cobalt carbonate and 2 rutile, translucent, gloss dark blue with dark to black pooled areas.
With 1 cobalt carbonate and 4.5 rutile, translucent, olive green ground with blue rivulets and streaks.
With 1 cobalt carbonate and 6 rutile, gloss, overall and covering medium green, breaking brown with slight bluish streaking.
With 1 cobalt carbonate and 2 chrome oxide, gloss, covering medium to dark green.
With 2 cobalt carbonate and 2 chrome, gloss, covering dark greenish teal.
With 2 cobalt carbonate and 2 copper carbonate and 2 tin dioxide, gloss, covering dark green, slightly lighter than above.
With 2 cobalt carbonate and 2 copper carbonate and 10 tin dioxide, gloss, covering teal green.
With 2 cobalt carbonate and 2 copper carbonate and 3 titanium dioxide and 2 rutile, semigloss, covering, grey blue ground with
greenish brown cast.
With 1 cobalt carbonate and 1 red iron oxide, gloss, cover, very dark blue.
With 1 cobalt carbonate and 3 red iron oxide, gloss, dark blue with almost black pooling. Very fluid and high edges but did not run,
crazed.
With 1 cobalt carbonate and 5 ochre, gloss, very dark blue, fluid edges.
With 2 cobalt carbonate and 1 tin dioxide, gloss, very dark blue, fluid and ran off tile.
With 3 rutile, translucent, gloss, pale yellow, crazed.
With 6 rutile, translucent ground, pale yellow, heavily streaked with opalescence. Very fluid but did not run off tile, crazed.
With 6 rutile and 6 red iron oxide, semimat, covering medium brown baizes. Appears to have and overall sparkle made up of tiny
crystals.
With 3 copper carbonate, translucent, gloss, pale green.
With 6 copper carbonate, translucent, gloss, medium green with dark green streaking. Very fluid, but did not run, crazed.
With 3 copper carbonate and 3 rutile, translucent, gloss, medium green streaking and shell over light brown ground, crazing.
With 3 copper carbonate and 6 rutile and 1.5 cobalt carbonate, gloss, covering, very fluid with several streaking colours over a medium
green grown, streaking is turquoise, brown and blue, very fluid and ran off tile in one area, breaking brown.
With 4 copper carbonate and 6 rutile, almost translucent gloss, very fluid, exaggeration of above, ran off the tile.
With 1 cobalt carbonate and 4 rutile and 2 red iron oxide, gloss, covering multi coloured glaze, brown ground and breaking, with
streaking blue, green and beige, a lot of movement without running, a good runner up for Floating Blue.
With 1 cobalt carbonate and 5 rutile and 0.5 red iron oxide, semigloss, covering and variegated green, dark green ground with lighter
green speckling.
With 5 red iron oxide, translucent, gloss, medium brown.
With 10 red iron oxide, translucent, gloss, dark brown.
With 5 tin dioxide, gloss, covering, soft white, slight yellowish cast.
With 10 tin dioxide, gloss, covering, white.
With 5 zirconia, translucent, cream, badly crazed.
With 10 zirconia, gloss, covering, stark white.
With 5 titanium dioxide, translucent, pale umber, slight opalescence where pooled.
With 10 titanium dioxide, translucent, gloss, light yellow ground, with thick streaking white crystals and blue opalescence, ran off tile.
With 5 titanium dioxide and 5 red iron oxide, gloss, covering medium brown with dark blue streaking, red in one of the streaks, a lot
of movement, high edge, but did not run.
With 1.5 titanium dioxide and 15 red iron oxide, gloss, medium brown ground with a lot of movement streaking, blue and black, ran
off tile.
With 1 rutile and 12.5 red iron oxide, semigloss, brown and black streaking, darkest where pooled.
With 4 manganese dioxide and 6 rutile, gloss, overall beige with blueish pooling.
With 4 manganese dioxide and 0.4 cobalt carbonate and 6 rutile, gloss, overall beige with very fluid grey blue streaking and pinkish
casts, ran off tile.

A: Baldwin Red
B: Kevin Baldwin
B: same oxides as Sankey Iron Red, similar to Spodumene Iron Red
C: 7-8
D: hold at 1265C for 20 min.
E: 44 feldspar,potash
E: 14 ash,bone
E: 14 quartz
E: 11 iron oxide,red
E: 10 talc
E: 8 ball clay,AK
E: 5 ball clay,HV
E: 3 lithium carbonate
E: 2 Bentonite
F: gloss
H: Kevin Baldwin: even bright red on white stoneware.

A: Sankey Iron Red
B: Baldwin Red adapted by John Sankey to North American materials
B: same oxides as Baldwin Red, similar to Spodumene Iron Red
C: 6
D: hold at 950C for 1 hour
E: 44 feldspar,Custer
E: 16.5 silica
E: 14 ash,bone
E: 11 iron oxide,red
E: 10 talc
E: 10.5 kaolin,EPK
E: 3 lithium carbonate
E: 2 Bentonite
F: gloss
H: John Sankey: A very even colour as long as it is thicker than 50 um, red crystals on a black ground with visual depth. It tends to
black where it is thin. By far the most reliable of the iron reds I have tried. The expansion is high, but it works perfectly on my clay,
which is fairly low expansion, probably due to the high potash content, which increases both elasticity and tensile strength.

A: Spodumene Iron Red
B: adaptation of Sankey Iron Red to avoid soluble lithium carbonate
B: similar oxides as Sankey Iron Red,Baldwin Red
C: 6
D: hold at 950C for 1 hour
E: 41 feldspar,Custer
E: 13 ash,bone
E: 12 spodumene
E: 10 iron oxide,red
E: 10 talc
E: 6 silica
E: 6 frit,Fusion 367
E: 2 Bentonite
F: gloss
H: John Sankey: Very similar to Sankey Iron Red, but is more prone to the iron remaining as black FeO instead of the desirable red
Fe2O3, especially in specks, also a bit less fluid at cone 6 despite adding the boron frit.

A: Baldwin Green
B: Kevin Baldwin
C: 7-8
D: hold at 1265C for 20 min.
E: 60 feldspar,potash
E: 20 dolomite
E: 15 quartz
E: 6 rutile
E: 5 kaolin
E: 1 Bentonite
E: 1 copper carbonate
F: gloss
H: Kevin Baldwin: even light green on white stoneware.

A: Baldwin Blue
B: Kevin Baldwin
C: 7-8
D: hold at 1265C for 20 min.
E: 47 feldspar,potash
E: 28 quartz
E: 10 dolomite
E: 8 calcium carbonate
E: 7 kaolin
E: 3 rutile
E: 1 cobalt oxide
F: gloss
H: Kevin Baldwin: even bright blue on white stoneware.

A: Weiser Honey
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 20 feldspar,potash
E: 20 borate,Gerstley
E: 20 nepheline syenite
E: 15 silica
E: 10 Wollastonite
E: 7 iron oxide,red
E: 5 kaolin
E: 2 dolomite
E: 1 titanium dioxide
F: gloss
H: Alisa Clausen: Gloss glaze, amber to dark browns and slight opalescence in thickest streaks. Where thin, glaze is more uniformly
brown.

A: Pinnell Seafoam
B: Peter Pinnell
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 51.3 feldspar,F-4
E: 25.5 strontium carbonate
E: 13.6 kaolin,Grolleg
E: 9.6 frit,Ferro 3134
E: 5 copper carbonate
E: 5 titanium dioxide
F: matte
H: Alisa Clausen: used Johnson Matthey J frit instead of 3134, kaolin instead of china clay. Applied thick. A mat glaze that is well
melted and very smooth surface. The colour is a strong aqua green. The glaze is well covering and has a slight sheen, although mat.
Where it is thicker, has more sheen than where thinner, but green in both areas. Has a lush and thick look overall. Tested same glaze
with ball clay instead of kaolin. Resulted in a very similar glaze, but is slightly darker in overall colour. It is not as uniform in colour or
as bright as the recipe with kaolin. It has an appearance that the aqua colour is higher surface, over a darker ground. With kaolin the
glaze has an even colour, with ball clay, there is more colour play on the surface.

A: Clausen Opal Blue
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 50 frit,Ferro 3134
E: 25 kaolin
E: 25 silica
E: 4 rutile
E: 1 cobalt oxide
F: gloss
H: Alisa Clausen: used Johnson Matthey J frit instead of 3134, 1.5 cobalt carbonate instead of 1 oxide. A glossy opalescent green
glaze, with opaque patches and rivulets of periwinkle blue where thickest. This glaze did not run, and has surface with many nuances.
Please note that Ron Roy suspects that this glaze could break down in the dishwasher, due to its low alumina.

A: Pinnell Grey Green
B: Clay Times, March/April, 2004
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 27.3 spodumene
E: 26 nepheline syenite
E: 15.5 strontium carbonate
E: 14.3 kaolin,Grolleg
E: 8.5 frit,Ferro 3134
E: 7.0 silica
E: 5.0 titanium dioxide
E: 3 copper carbonate
E: 1.4 lithium carbonate
F: matte
H: Alisa Clausen: used Johnson Matthey J frit instead of 3134, local kaolin instead of Grolleg. Applied thick. With 3% copper
carbonate: a mat glaze with a dry but well melted surface. Colour is green to grey where thickest brown where thinner. Resembles the
original Weathered Bronze, but greyer overall. There are green flecks that break through the surface of the glaze. 4% copper: Much
greener overall with many green flecks joining over a grayish ground surface colour. Small crystals are more obvious on surface and
has a slightly lichen effect in some areas where thicker. 5% copper: The green specs are brighter. Therefore there is a stronger contrast
between them and the grey ground. The ground is browner where thinner, but the green is as strong.

A: Pinnell Green Black
B: Clay Times
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 29.3 nepheline syenite
E: 27.2 spodumene
E: 17.8 strontium carbonate
E: 12.0 kaolin,Grolleg
E: 8.0 silica
E: 5.0 copper carbonate
E: 5.0 titanium dioxide
E: 4.3 frit,Ferro 3134
E: 1.4 lithium carbonate
F: semimatte
H: Alisa Clausen: used Johnson Matthey J frit instead of 3134, local kaolin instead of Grolleg. Applied thick. A semi mat with
movement in the surface. The glaze looks similar to the original Weathered Bronze where thinnest, but with a better melt and therefore
slightly more gloss. However, where thickest, this is the brightest of greens of all of the Pinnell new formulations of Weathered
Bronze. It is a strong aqua to grass green, with movement in the surface, showing some minute whitish streaking. It is black and green
where thinnest. John Hesselberth has tested this glaze for copper leaching and recommends this glaze for decorative use only.

A: Chinese Blue Green
B: Clay Times March/April 2003
B: similar oxides to Buck Sea Green
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 39.71 feldspar,Custer
E: 25.87 silica
E: 14.33 calcium carbonate
E: 11.54 zinc oxide
E: 4.71 kaolin,EPK
E: 1.92 copper carbonate
E: 1.92 Bentonite
F: gloss
H: Alisa Clausen: glossy, aqua green, transparent glaze. The glaze has a slightly textured feel, with tiny crystals where thickest.

A: Pinnell Weathered Bronze
B: Clay Times March/April 2003
B: similar oxides to Clarke Strontium Matte Base Bronze
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 60 nepheline syenite
E: 20 strontium carbonate
E: 10 kaolin
E: 9 silica
E: 5 titanium dioxide
E: 5 copper carbonate
E: 1 lithium carbonate
F: semimatte
H: Alisa Clausen: applied thick. A mat to semi mat overall brown glaze with a greenish cast , that is well covering. Colour is
essentially a dark olive brown. Ball clay version: a mat to semi mat overall, with olive brown breaking over a green ground. I have
always mixed this glaze with ball clay instead of the kaolin in the recipe. The glaze acts much better for me with ball clay than kaolin.

A: Crystalline Aqua Icing
B: Clay Times Sept/Oct 2003
B: similar oxides to Icing Pink
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 41.48 silica
E: 23.61 nepheline syenite
E: 12.39 calcium carbonate
E: 11.26 lithium carbonate
E: 6.46 borate,Gerstley
E: 3.55 rutile
E: 3.05 tin dioxide
E: 2.82 magnesium carbonate
E: 2.50 copper carbonate
E: 1.98 barium carbonate
F: semimatte
H: Alisa Clausen: A semi mat glaze that is has a smooth surface. Where thickest, it is slightly streaky and aqua, where thinnest, it is an
olive green.

A: Crystalline Green Icing
B: Clay Times Sept/Oct 2003
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 41.48 silica
E: 23.61 nepheline syenite
E: 12.39 calcium carbonate
E: 11.26 lithium carbonate
E: 6.46 borate,Gerstley
E: 2.82 magnesium carbonate
E: 3.8 copper carbonate
E: 0.25 cobalt carbonate
F: semimatte
H: Alisa Clausen: a glossier glaze than Crystalline Aqua Icing, overall an olive green colour with some lighter areas where thickest.

A: Yellow Brown Opal
B: similar oxides to Honey Clear and Brown Opal
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 30 spodumene
E: 20 silica
E: 14 borate,Gerstley
E: 13 talc
E: 7 dolomite
E: 6 rutile
E: 5 kaolin
E: 1 manganese dioxide
H: Alisa Clausen: A yellow brown glaze. No surface or colour difference substituting Johnson Matthey J frit for the borate. I have
tested this recipe with Colemanite as well. None of my tests have yielded any opalescence or blues.

A: Brown Opal
B: similar oxides to Honey Clear and Yellow Brown Opal
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 30 spodumene
E: 20 silica
E: 14 borate,Gerstley
E: 13 talc
E: 7 dolomite
E: 6 rutile
E: 5 kaolin
E: 1-2 cobalt oxide
E: 4-6 copper carbonate
H: Alisa Clausen: a darker version of Yellow Brown Opal, with no visible difference in the borate or Frit J tests.

A: Cream Rust
B: John Post revision of Buck Cream Breaking Red
B: Clay Times July/August 2004
C: 5-8
D: cool maximum rate to 800C hold 1 hour
E: 30.6 frit,Ferro 3134
E: 26.6 feldspar,Custer
E: 18.2 silica
E: 13 tin dioxide
E: 10.6 Wollastonite
E: 8.4 kaolin,EPK
E: 6.0 iron oxide,red
E: 3.3 strontium carbonate
E: 2.3 talc
F: semigloss
H: Alisa Clausen: a thick, covering semi gloss, cream where glaze is thickest and rust where the glaze is thinnest. This is a breaking
glaze, with distinct colour differences from thick to thin. Has shino-like flecked and speckled look where thickest.
H: John Post: a speckled rust glaze where thin, turning into a creamy beige glaze if it is applied more thickly. Great in combination
with Berry Rust. Works at cone 6-7. In reduction at cone 7 it turned an unattractive speckled grey. I tried using less tin in order to cut
the cost of the glaze, but the glaze was not opaque enough with 3% or 6% tin. At 9% the glaze was opaque, but did not have the
creamy brightness of the glaze with 13%. I also tried 15% superpax instead of the tin, but that glaze test turned the rust colour a dull
brown and the left the creamy areas looking dingy.

A: Clausen Light Gray Semimatte
B: Alisa Clausen
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 20 clay,Redart
E: 20 dolomite
E: 20 Wollastonite
E: 20 frit,Ferro 3134
E: 20 silica
E: 2 cobalt carbonate
F: semimatte
H: Alisa Clausen: covering, semi mat glaze that is well melted. Smooth surface. Where thickest, the glaze is a dark gray, where
thinner, the colour has blue cast and is not as covering.

A: Kemp Lichen
B: Clay Times Nov/Dec 2001 Brian Kemp
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 30 feldspar,soda
E: 30 magnesium carbonate
E: 20 kaolin
E: 10 frit,Ferro 3134
E: 10 talc
G: crawls
H: Alisa Clausen: The glaze pulled, separated and crawled from the underlying glaze of contrasting colour (I used Nutmeg) making a
high and textured lichen effect. The glaze is slightly dry and although the effect is very textured, it separated into islands with sharper
borders than the rounder, ball like islands I was aiming for. With the fine help of Bacia, I was able to get this glaze to work this far,
because she told me that it must be applied very thickly, until it crackles a bit when dried, but to much so that it will fall off the pot as
you lift it into the kiln. There is a lot to experiment with this glaze. It can also be coloured with stains and oxides.

A: Hamer Bristol
B: The Potters Dictionary, Hamer and Hamer
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 65 feldspar,Feldshammer
E: 10 zinc oxide
E: 9 kaolin
E: 8 calcium carbonate
E: 5 titanium dioxide
E: 3 silica
F: semimatte
H: Alisa Clausen: Semi mat, opaque white glaze. Appears a little dry, but has a soft sheen and smooth to touch. Oxides showed
through glaze, although very muted.

A: Heloise Bristol
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 68 feldspar,potash
E: 10 calcium carbonate
E: 8 kaolin
E: 7 zinc oxide
E: 7 silica
F: semimatte
H: Alisa Clausen: used calcium carbonate for calcium carbonate. A semi mat glaze, glossier than Janet Hamer Bristol. White, but not
completely opaque, allowing for oxides to show through.

A: Broken Pearl Green
B: Clay Times, Nov/Dec. 2004
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 28 feldspar,potash
E: 20 silica
E: 14 calcium carbonate
E: 14 dolomite
E: 10 zinc oxide
E: 7 rutile
E: 4 Bentonite
E: 3 lithium carbonate
F: gloss
H: Alisa Clausen: gloss glaze, a mottled tan ground with white and slightly opalescent streaking overall.

A: Eggshell
B: Ceramics Monthly, Oct. 2004
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 44.5 frit,Ferro 3124
E: 20 feldspar,Custer
E: 9.5 calcium carbonate
E: 9 tin dioxide
E: 8 silica
E: 7.5 Bentonite
E: 5.5 zinc oxide
E: 5 kaolin,EPK
E: 3 iron oxide,red
F: gloss
H: Alisa Clausen: gloss, covering glaze, medium rust brown ground, with darker brown speckling and slight streaking with a cream
colour where thickest. Dark rust where thinnest.

A: Cooper Barium Nickel Blue
B: Hamer and Hamer credited to Emmanuel Cooper
C: 5
D: cool maximum rate to 800C hold 1 hour
E: 52 feldspar,Forshammer
E: 15 barium carbonate
E: 12 zinc oxide
E: 10 silica
E: 6 kaolin
E: 5 calcium carbonate
E: 2 nickel oxide,black
F: gloss
G: potentially toxic
H: Alisa Clausen: semi mat yellow to light brown glaze, with bright blue specs.

A: Cooper Nickel Blue
B: Hamer and Hamer credited to Emmanuel Cooper
C: 5
D: cool maximum rate to 800C hold 1 hour
E: 52 feldspar,Forshammer
E: 11.2 strontium carbonate
E: 12 zinc oxide
E: 10 silica
E: 6 kaolin
E: 5 calcium carbonate
E: 2 copper oxide,black
F: gloss
H: Alisa Clausen: similar to Cooper Barium Nickel Blue, but the ground colour is paler than the barium version. Blue specs are as
visible.

A: Cooper Yellow Matte
B: Emanuel Cooper
C: 6
E: 48.6 feldspar,soda
E: 19.4 barium carbonate
E: 9.7 calcium carbonate
E: 9.7 zinc oxide
E: 9.7 ball clay
E: 2.8 rutile
F: matte
H: Alisa Clausen: A very, very dry matt pale yellow that clung very closely to the test bowl, like a slip, Looks like an underfired
surface, but very smooth. Could be interesting together with other detail glazes.

A: Cooper Blue Curdle on Jade
B: Bonnie Staffel credited to Emmanuel Cooper
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 40 feldspar,F-4
E: 20 kaolin
E: 18 stone,Cornwall
E: 18 calcium carbonate
E: 5 rutile
E: 4 zinc oxide
E: 2 copper carbonate
F: matte
H: Alisa Clausen: Mat tan ground with a green cast, speckled with dark blue and green.

A: Cooper Bleached Albany
B: Bonnie Staffel credited to Emmanuel Cooper
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 32 slip,Albany
E: 20 calcium carbonate
E: 10 kaolin,EPK
E: 6 rutile
F: matte
H: Alisa Clausen: used Redart clay instead of Albany. Caramel brown mat, slightly dry.

A: Cooper Speckled Transparent
B: Clay Times Nov/Dec. 2004
C: 5-6
D: cool maximum rate to 800C hold 1 hour
E: 25 nepheline syenite
E: 35 frit,Ferro 3134
E: 20 kaolin
E: 20 silica
E: 7 rutile
F: gloss
H: Alisa Clausen: clear gloss, clay body has an overall toasty colour under glaze.

A: Jeannie Purple
B: Clay Times Jan/Feb. 05, based on John Hesselberth and Ron Roy Tin/Chrome Raspberry
B: similar oxides to Rosenrot Red 1, Rosenrot Red 4, Chrome Tin Base Raspberry Blue, Chrome Tin Base Raspberry
B: similar oxides to Chrome Tin Base and Goodrich Cranberry
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 30 silica
E: 20 calcium carbonate
E: 18 nepheline syenite
E: 18 ball clay,OM-4
E: 14 frit,Ferro 3134
E: 3.75 tin dioxide
E: 0.60 cobalt carbonate
E: 0.20 chrome oxide
F: gloss
H: Alisa Clausen: gloss dark blue purple

A: Strontium Opal Blue
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 37.8 feldspar,Custer
E: 24.9 silica
E: 22.8 borate,Gerstley
E: 11.2 calcium carbonate
E: 3.1 strontium carbonate
E: 3 rutile
E: 0.4 cobalt carbonate
F: gloss
H: Alisa Clausen: gloss, opaque and covering glaze. Pale blue periwinkle colour, even where thick and thinner.

A: Rita Schiavones Periwinkle
B: Ceramics Monthly, Oct. 2004
B: similar oxides to Randy Blue, Annie Tan, Touchstone Base and Rhoades White Satin Matte
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 32 borate,Gerstley
E: 30 silica
E: 20 feldspar,F-4
E: 14 talc
E: 4 kaolin,EPK
E: 2 rutile
E: 1 cobalt oxide
F: semigloss
H: Alisa Clausen: semigloss glaze, blue/gray and very slightly mottled with medium blue. Covering and opaque.

A: Galloway Water Blue
B: Clay Times, May/June 2004 Julia Galloway
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 77 frit,Ferro 3110
E: 10 silica
E: 7 kaolin,EPK
E: 6 borate,Gerstley
E: 5 cobalt carbonate
E: 3 Bentonite
F: gloss
H: Alisa Clausen: gloss dark blue.

A: Rust Nutmeg
B: same oxides as Nutmeg Semimatte and Nutmeg, similar to Schran Orange Brown and Nutmeg 1
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 23.3 dolomite
E: 23.3 spodumene
E: 23.3 ball clay,OM-4
E: 23.3 silica
E: 6.8 frit,Ferro 3134
E: 4.85 tin dioxide
E: 3.24 ochre
E: 1.94 Bentonite
E: 1 iron oxide,red
F: semigloss
H: Alisa Clausen: used local red clay instead of OM-4. Gloss glaze with shino like colorations. The glaze is a rust brown where
thinnest and pools cream where thickest. Overall appearance is a rust glaze with streaks and patches of cream. A glaze that breaks
well. This version is slightly rustier in colour than the original version, but not very much so. Smooth to the feel.

A: Wilson Textured Crawl
B: Bacia Edelman credited to Lana Wilson
B: similar oxides to Dry White 1
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 60 nepheline syenite
E: 22 magnesium carbonate
E: 18 ball clay
G: crawls
H: Alisa Clausen: Application is crucial to get this glaze to crawl. It must be applied thickly enough that there are slight cracks in the
dried surface. I brushed it on. Glossy, white islands, like drops of school glue (Elmer for the Americans). The individual islands were
different in overall sizes, from 1cm or less to a healthy 2 centimeters in diameter. They are varied in shape from round to oblong. The
islands sit high above the clay surface and are smooth to the touch. Over a commercial 04 black, the glaze melted into the glaze, still
forming distinct islands. The island edges are more geometric, like oatmeal, however still very distinct. The are not as raised as the
Texture crawl by itself, but still raised about the surface of the black glaze. The black glaze pooled and formed a border around each
island. Over Lili Krakowski Albany Slip substitution, the glaze is more covering and is more lichen like as opposed to raised islands.
The overall surface is a labyrinth of white flattened shapes of all forms, revealing the slip only where the shapes are separated by their
crevice like borders. The glaze lies almost flat, but has a very distinct lichen pattern like the pattern of our brain tissue. Lana sprays it
on.

A: Cooper 97 Base
B: Cibele Toledo Krukowski
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 35 feldspar,Feldshammer
E: 30 calcium carbonate
E: 15 stone,Cornwall
E: 14 ball clay
E: 6 zinc oxide
F: gloss
G: crazing
H: Alisa Clausen: A smooth, semi mat, transparent glaze. Has a sheen and is glassy where thickest. Where thickest, glaze crazed.

A: Yellow Oxide
B: Ceramics Monthly April, 2001
B: similar oxides to Barringer Yellow Oxide
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 31.52 kaolin
E: 28.26 frit,Ferro 3110
E: 18.48 zinc oxide
E: 17.39 silica
E: 4.35 iron oxide,red
E: 4.35 lithium carbonate
E: 4.35 tin dioxide
E: 0.54 ochre
E: 0.44 copper carbonate
F: gloss
G: shivering
H: Alisa Clausen: Gloss glaze that is rust red where thinnest. It pooled very glassy with a crystallized yellowish surface. There is a red
spot in the middle of the test tile. I have tested this glaze twice, both on white and on brown stoneware. Both times, the glaze showed a
well melted, multi coloured gloss. The glaze was an more overall yellowish brown on the brown stoneware. Smooth and slightly more
of a semi gloss. I glazed the insides of several pots with this glaze. The glaze literally popped off the slides of the pot in big chunks and
splinters. This is the first time I have witnessed a glaze shiver so severely minutes after the pots were unloaded. They continued to
shiver in small splinters a day after. Now I have thrown them away, carefully, but they could still be pinging and popping. The test tiles
are from very recently and from over a year ago. They have not shivered.

A: Bell Lichen
B: Mark Bell
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 30 feldspar,soda
E: 31 magnesium carbonate
E: 6 frit,Hommel 25
E: 8 talc
E: 6 zinc oxide
E: 10 kaolin
F: matte
G: crawling
H: Alisa Clausen: The application of this glaze is crucial. It must be applied thickly enough that it dries with slight cracks over the
dried surface. This recipe is very similar to Kemp Lichen, with the addition of Zinc Oxide. The glaze forms small, close, irregularly
shaped curdles. They are have a more mat surface than the Kemp recipe. The addition of Zinc also makes the overall glaze slightly
drier and the edges of the curdles are slightly lifted. The overall feel is craggy and rough. It resembles lichen moss and although the
edges are lifted, they are fused. With 3% added Rutile has slightly larger lichen forms, colour is the same. Over Commercial Black
cone 04 glaze the curdles smoothed out, are in general larger and glossier. The Black glaze pools in between the curdles.

A: Burkett/Borcherding Clear
B: Clay Times, March/April, 2005 Kate Borcherding and Richard Burkett
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 70 frit,Ferro 3195
E: 12 silica
E: 10 Wollastonite
E: 8 kaolin,EPK
E: 2.0 Bentonite
E: 0.25 Epsom salts
F: gloss
H: Alisa Clausen: Transparent, gloss glaze.

A: Burkett/Borcherding Green
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 100 Burkett/Borcherding Clear
E: 0.25 copper carbonate
F: gloss
H: Alisa Clausen: Transparent, green gloss.

A: Zakin Dry Base
B: Richard Zakin
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 28 Wollastonite
E: 26 ball clay
E: 35 nepheline syenite
E: 8 tin dioxide
E: 3 zinc oxide
F: matte
H: Alisa Clausen: Dry, but melted stark white, covering, mat glaze. Smooth surface. More a glaze then a slip, but seems just melted
enough to be smoother than a slip. Could be good for those who need a white slip/glaze between a dark clay body and a transparent
glaze.

A: Dry Yellow Pumpkin
B: Ababi Sharon
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 24 kaolin
E: 19 dolomite
E: 18 frit,Ferro 3134
E: 16 kaolin,calcined
E: 16 spodumene
E: 14 titanium dioxide
E: 8 silica
E: 6 rutile
F: matte
H: Alisa Clausen: used 40 kaolin instead of 24 kaolin and 16 calcined kaolin. Mat, smooth, covering glaze. Slight sheen on surface.
Colour is a truly mellow yellow orange. On closer look at the surface, there is some pitting, but cannot feel it. The glaze has an area
that is darker and toastier than rest of test tile. An unusual colour, as it is very much in the yellow family.

A: Kilpatrick Butterscotch Matte
B: Holly Kilpatrick
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 38.3 ball clay
E: 22.3 frit,Ferro 3134
E: 22.2 dolomite
E: 11.9 titanium dioxide
E: 5.6 rutile
E: 4.1 lithium carbonate
E: 1.2 calcium carbonate
F: matte
H: Alisa Clausen: Mat, covering glaze. Colour is a toasty yellow. In comparison with Dry Yellow Pumpkin, this glaze is drier and a
true mat. The colour is not as yellow orange, but is still in the same family. It is a slightly whiter yellow orange, with slightly less depth
of colour and warmth than Dry Yellow Pumpkin. However, an unusual yellow orange, and no pitting.

A: Redart Mix
B: Lili Krakowski
E: 58 clay,Redart
E: 8 dolomite
E: 2.5 calcium carbonate
H: A substitute for Albany slip

A: Krakowkski Little Alex Porter
B: Lili Krakowski
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 57 Redart Mix
E: 21 borate,Gerstley
E: 14 silica
E: 7 iron oxide,red
E: 4 ash,bone
E: 4 ash,hardwood
F: gloss
H: Alisa Clausen: used 8 bone ash instead of bone plus wood. Gloss, gorgeous tenmoku glaze. Black ground with breaking iron red
over surface.

A: Krakowkski Ari Sherry
B: Lili Krakowski
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 36 Redart Mix
E: 21 borate,Gerstley
E: 14 silica
E: 12 ash,bone
F: gloss
H: Alisa Clausen: Semi gloss, covering, rust red brown glaze. Although very dark, this glaze has lively and reflective rust cast. Best
where double dipped.

A: Mackersi Yellow
B: Clay Times, March/April, 2005
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 63 feldspar,F-4
E: 21 dolomite
E: 16 strontium carbonate
E: 2 Bentonite
E: 4.2 Crocus Martis
F: gloss
G: crazing
H: Alisa Clausen: Apply thinly, runs and pinholes if thick. Crazed. Transparent, yellow green, gloss. Streaked. Described as
translucent yellow, mat with rivulets.

A: Bailey Red Orange
B: Mike Bailey
B: similar oxides to Penland Red Orange and Bailey Orange
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 46.7 feldspar,potash
E: 16.9 talc
E: 15 ash,bone
E: 11.5 iron oxide,red
E: 11.4 silica
E: 4 kaolin,EPK
E: 4 lithium carbonate
E: 2 Bentonite
F: semigloss
H: Alisa Clausen: semi gloss, satin smooth surface, dark brown. As described in Clay Times, an unfortunate depressing Yuck Brown.
However, the surface is so attractive, and in strong light, there is an orange spec. This is a glaze I will further test. I found from my
work with red clay glazes, the difference of a flux or spar can make vast variations in surface colour. Using Crocus Martis instead of
iron oxide,red gives the same silk mat surface, covering glaze. Colour is a green brown where thickest and brown where thinnest.

A: Penland Red Orange
B: similar oxides to Bailey Orange and Bailey Red Orange
C: 6
E: 46.7 feldspar,F-4
E: 16.9 talc
E: 15 ash,bone
E: 11.5 Crocus Martis
E: 11.4 silica
E: 4 kaolin,EPK
E: 4 lithium carbonate
E: 2 Bentonite
F: semigloss
H: Dolita Dohrman: intense rust-red with black variegation, beautiful soft sheen, reliable with any clay (except, in my experience,
Highwater Earthen Red).

A: Selsor White Matte
B: Marcia Selsor
B: same oxides as Moore White Matte 1
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 38 nepheline syenite
E: 23 kaolin,EPK
E: 20 dolomite
E: 18 silica
E: 10 borate,Gerstley
E: 4 calcium carbonate
F: matte
H: Alisa Clausen: Mat, soft white, covering glaze. Typical Dolomite mat surface, smooth and nicely melted at cone 6.

A: Moore White Matte 1
B: an early adaption by Charles Moore from Selsor White Matte
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 33.5 nepheline syenite
E: 20 kaolin,EPK
E: 17.5 dolomite
E: 16 silica
E: 9 borate,Gerstley
E: 2.5 calcium carbonate
F: matte
H: Alisa Clausen: Mat, soft white, covering glaze. This version is visually almost identical to Marcia original recipe, however, it is a
tiny bit drier on the surface. Still, well melted and has a smooth feel.

A: Moore White Matte
B: adapted by Charles Moore from Selsor White Mat
B: similar oxides to Butter Base
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 33.5 nepheline syenite
E: 30 silica
E: 20 kaolin,EPK
E: 17.5 dolomite
E: 9 borate,Gerstley
E: 2.5 calcium carbonate
F: semimatte
H: Alisa Clausen: This version is a soft white, covering, silk mat glaze. It is my personal favourite type of surface, a smooth to touch,
milky white, silky, well melted, semi mat. The glaze is slightly more reflective than Selsor Waxy White, but still mat, with a very
smooth feel to the surface. Just makes me want to pass the test tile across my cheek.
H: John Sankey: white with a definite beige cast, faintly rough silk matte, more matte than Selsor Waxy White when both are fired
without a cooling hold.

A: Waxy White 2
B: Ababi Sharon via Maurice Weitman
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 35.5 Wollastonite
E: 23.2 silica
E: 17.2 kaolin,EPK
E: 12.7 frit,Ferro 3134
E: 10.3 nepheline syenite
E: 1.1 talc
F: semimatte
H: Alisa Clausen: Semi mat, covering, white glaze. Waxy and silky feel, slight sheen on surface, milky in colour

A: Hansen 20x5 Base
B: Tony Hansen
B: similar oxides to Chrome Tin Base Raspberry Blue, Chrome Tin Base and Edwards Clear
C: 6
D: cool maximum rate to 1100C hold 1 hour
E: 20 frit,Ferro 3134
E: 20 Wollastonite
E: 16 silica
E: 16 feldspar,Custer
E: 9 kaolin,EPK
F: gloss
G: shallow pinholes
H: Alisa Clausen: used equal volumes as specified by Tony, weights as shown. A clear, transparent gloss.
H: Cindy Strnad: the reason you get a matte finish is the formation of calcium crystals. For this, you need a slow cooling cycle. I get a
nice buttery matte with a slight tendency toward shallow pinholes, and a subdued medium-dark blue on brown clay when cooling at
55C per hour down to 540C.
H: Alisha Clarke: a very good and stable glaze base that can be used with many colorants, a good starting point for someone just
getting into mixing their own glazes. The recipe is simple and easy to mix up.

A: Strnad Crystal Matte
B: Cindy Strnad
B: similar oxides to Zamek Clear
C: 6
D: requires a slow cool
E: 30 kaolin,EPK
E: 21 calcium carbonate
E: 20 feldspar,Custer
E: 15 frit,Ferro 3134
E: 14 silica
F: matte
H: Cindy Strnad: developed from Hansen 20x5 and one from Ron Roy, to avoid the tendency to pinhole with Hansen. But, with Ron
base, the glaze was closer to a baby blue, and I wanted dark. So I fiddled around with it to bring the numbers nearer to those in Tony
glaze, and this is what I came up with. No pinholes so far.

A: Hewitt Eggshell
B: David Hewitt
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 48 feldspar,potash
E: 16 kaolin
E: 15 dolomite
E: 10 calcium carbonate
E: 5.5 frit,Potterycrafts 2960
E: 0.25 zinc oxide
F: matte
H: Alisa Clausen: Mat dolomite glaze, soft white colour, showing iron specs. in clay body. Smooth and evenly melted.

A: Krakowski Marsala
B: Lili Krakowski
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 60 Redart Mix
E: 10 nepheline syenite
E: 10 frit,Ferro 3185
E: 10 frit,Fusion 134
E: 10 talc
E: 7 iron oxide,red
E: 6 ash,bone
F: gloss
H: Alisa Clausen: Gloss glaze, dark brown to black ground under a fluid streaks of rust and light brown. A lot of movement, but not
running.

A: Krakowski Noah Port
B: Lili Krakowski
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 60 clay,Redart
E: 20 nepheline syenite
E: 10 dolomite
E: 20 frit,Ferro 3134
E: 5 iron oxide,red
F: gloss
H: Alisa Clausen: Gloss glaze, dark brown to black ground under a fluid streaks of rust and light brown. A lot of movement, but not
running.

A: Frogpond Green 1
B: John Hesselberth
B: similar oxides to Charcoal Satin Matte
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 31 frit,Ferro 3124
E: 23.2 Wollastonite
E: 31.7 kaolin,EPK
E: 14.1 silica
E: 3.5 copper carbonate
E: 5.5 rutile
F: gloss
H: Alisa Clausen: Gloss, light green glaze, with movement and streaking on surface. Pinkish cast where streaking separates overall
green ground. Where glaze moves and collects at bottom of dipping edge, glaze is raised but not dripping. Perhaps my frit has made
this glaze glossy, could add some kaolin,EPK in further testing.

A: John Post 244 Base
B: John Post
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 30 silica
E: 28.7 kaolin,EPK
E: 21.5 frit,Ferro 3110
E: 16.9 dolomite
E: 2.9 talc
F: semigloss
H: Alisa Clausen: Semi gloss, transparent glaze, smooth and well melted.

A: John Post White
B: John Post
B: similar oxides to Easy White and Hansen 20Wx5 White
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 24 silica
E: 21 frit,Ferro 3134
E: 20 Wollastonite
E: 19 nepheline syenite
E: 16 kaolin,EPK
E: 15 zirconia
F: gloss
H: Alisa Clausen: Gloss, stark white glaze, even and covering.

A: Costello Carbonate Leaf Green
B: Ceramics Monthly September 2005 Jayne Shatz
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 45 feldspar,Custer
E: 25 silica
E: 20 borate,Gerstley
E: 6 barium carbonate
E: 6 copper carbonate
E: 2 calcium carbonate
E: 2 ball clay
F: gloss
H: Alisa Clausen: gloss, transparent, medium green glaze, colour is slightly mossy, like a dark leaf green. Recommended by Shatz to
try over rutile mat as a decorative addition.

A: Shatz Clear
B: Ceramics Monthly September 2005 Jayne Shatz
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 38 feldspar,Custer
E: 25 borate,Gerstley
E: 19.6 silica
E: 8.7 barium carbonate
E: 8.7 calcium carbonate
E: 8.7 Bentonite
F: gloss
H: Alisa Clausen: Gloss, transparent glaze. Described as a great liner glaze in article. I would choose something else, without barium
and without so much Gerstley. I made this glaze with a boron frit instead of G. B. and the result looked the same, with a very good
melt. I would suggest also subbing strontium for the barium. That would get rid of the barium and since there are no colour enhancing
issues, (where I have found strontium not to be as good as catalyst as barium) it could be a success. 100 gr. barium carbonate equals
74.8 gr. strontium carbonate (6.5 gr. s.c. for this recipe).

A: Shatz Matte Black
B: Ceramics Monthly September 2005 Jayne Shatz
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 36.8 feldspar,Custer
E: 18.4 barium carbonate
E: 18.4 slip,Barnard
E: 9.2 kaolin,EPK
E: 9.2 silica
E: 9.2 zinc oxide
E: 8 borate,Gerstley
E: 3.4 copper oxide,black
E: 2.4 cobalt oxide
E: 2.3 iron oxide,red
F: matte
G: pinholing,potentially toxic
H: Alisa Clausen: used local red clay for Barnard. Mat, oversaturated, possibly underfired, black glaze, some pinholing

A: Shatz Rutile Matte
B: Ceramics Monthly September 2005 Jayne Shatz
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 56 nepheline syenite
E: 20 calcium carbonate
E: 18 kaolin
E: 9 zinc oxide
E: 7 rutile
E: 6 silica
F: matte
H: Alisa Clausen: mat, yellowish cream colour, slight grey streaking overall. Surface is varied with lighter cream crystals to greyish
undertones where glaze streaks.

A: Cressell Frost
B: Pam Cressell
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 34.2 silica
E: 21.4 calcium carbonate
E: 19.5 kaolin,EPK
E: 15.4 nepheline syenite
E: 7.0 spodumene
E: 2.6 tin dioxide
E: 2.5 zinc oxide
F: gloss
H: Alisa Clausen: Gloss, transparent cream white.

A: Rhoades White Satin Matte
B: Kathy Rhoades
B: similar oxides to Annie Tan, Rita Schiavones Periwinkle and Touchstone Base
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 31.6 borate,Gerstley
E: 29.64 silica
E: 19.80 feldspar,F-4
E: 13.95 talc
E: 5.11 zirconia
E: 4.98 kaolin,EPK
E: 1.99 Bentonite
F: gloss
H: Alisa Clausen: Mat, white glaze. Not well melted on thinner areas, with small bubbles. Thicker areas has smooth and slightly
pebbled textures.

A: Martens Silky White
B: Lela Martens
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 48 nepheline syenite
E: 25 silica
E: 18 calcium carbonate
E: 8 zinc oxide
E: 8 kaolin,EPK
E: 4 tin dioxide
F: semigloss
H: Alisa Clausen: semi gloss, soft white glaze, even and covering.

A: Turnidge Crystalline
B: Dan Turnidge. also known as MFE crystalline
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 50 frit,Ferro 3110
E: 22.5 zinc oxide
E: 22.5 silica
E: 5 lithium carbonate
F: crystalline
H: Alisa Clausen: Gloss, transparent glaze with stark white streaking. White crystals developed around edges of test tile, which is an
extruded square tube. Runny. Glaze is crazed. With added 2 nickel: gloss, transparent glaze with softer white and pink streaking.
Bright blue crystals along edges of test tile and bottom dipping line. Runny. Glaze is not crazed.
H: John Sankey: I use this glaze with Fusion 75 frit plus 3 manganese dioxide and 1 cobalt oxide as colorants; it does not craze but it
is runny as virtually all crystalline glazes are.

A: Nutmeg
B: Richard Busch
B: similar oxides to Rust Nutmeg and Schran Orange Brown
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 23.3 dolomite
E: 23.3 ball clay,OM-4
E: 23.3 silica
E: 23.3 spodumene
E: 6.8 frit,Ferro 3134
E: 4.85 tin dioxide
E: 3.24 ochre
E: 1.07 iron oxide,red
F: gloss
H: Alisa Clausen: gloss, smooth, deep red brown with white streaking and speckling overall.

A: Nutmeg 1
B: Richard Busch, reformulated by Ron Roy
B: similar oxides to Schran Orange Brown and Rust Nutmeg
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 22.5 dolomite
E: 22.5 ball clay,OM-4
E: 19.5 feldspar,G-200
E: 18.5 silica
E: 10 spodumene
E: 7 frit,Ferro 3134
E: 4.85 tin dioxide
E: 3.24 ochre
E: 1.07 iron oxide,red
F: gloss
H: Alisa Clausen: gloss, smooth and variegated with a rust to honey brown ground, and white streaking and speckling overall.

A: Buck Sea Green
B: Tom Buck
B: similar oxides to Chinese Blue Green
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 35 feldspar,G-200
E: 22 Wollastonite
E: 19 silica
E: 12 ball clay,OM-4
E: 12 zinc oxide
E: 2 copper carbonate
E: 2 Bentonite
E: 1 rutile
F: gloss
H: Alisa Clausen: used an English ball clay for OM-4. Gloss, translucent glaze. Pale aqua green, breaks clear at edges.

A: NCECA Clear Base
B: Ababi Sharon
C: 6
E: 20 frit,Ferro 3134
E: 20 dolomite
E: 20 spodumene
E: 20 ball clay
E: 20 silica

A: Sharon Butterscotch
B: Ababi Sharon
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 100 NCECA Clear Base
E: 10 titanium dioxide
E: 6 rutile
F: semigloss
H: Alisa Clausen: semi gloss, smooth, semi opaque glaze. Caramel (Butterscotch!) ground where thinner, with a white, streaked shell
where thicker. Overall orange speckling that appears only in the white streaks. This glaze breaks markedly over edges, with a high
contrast between thinner and thicker.

A: Barium Blue
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 65 nepheline syenite
E: 30 barium carbonate
E: 8 silica
E: 7 ball clay,OM-4
E: 3 lithium carbonate
E: 3 copper carbonate
F: matte
G: potentially toxic
H: Alisa Clausen: used an English ball clay for OM-4. mat, opaque, strong Turquoise blue. Bright blue spots where breaking, but
minimal.
H: Tracy Wilson: when fired 9 reduction, very dry matt deep turquoise blue/green going to teal where thick, beige where thin.

A: Strontium Blue
B: Barium Blue, strontium instead of barium
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 65 nepheline syenite
E: 30 strontium carbonate
E: 8 silica
E: 7 ball clay,OM-4
E: 3 lithium carbonate
E: 3 copper carbonate
F: matte
H: Alisa Clausen: used an English ball clay for OM-4. mat, opaque, slightly lighter turquoise blue than with barium. No spots.

A: Edwards Slip
B: Bill Edwards
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 40 ball clay
E: 30 frit,Ferro 3124
E: 20 dolomite
E: 10 kaolin,EPK
F: matte
H: Alisa Clausen: Silk mat, opaque cream coloured glaze. Smooth surface. With 3 cobalt carbonate, light blue grey; with 10.5 iron
oxide,red plus 2.5 cobalt carbonate, deep black.

A: Edwards Clear
B: William Edwards
B: similar oxides to Hansen 20x5 Base
C: 6
E: 30 silica
E: 25 frit,Ferro 3134
E: 20 nepheline syenite
E: 12.50 calcium carbonate
E: 12.50 kaolin,EPK
F: gloss
H: Alisa Clausen: Stable, glossy clear. No discernable difference where dipped twice.

A: Edwards Matte Base
B: William Edwards
B: similar oxides to Edwards Matte Grey-Pink
C: 6
E: 30 feldspar,G-200
E: 30 kaolin,EPK
E: 20 calcium carbonate
E: 20 frit,Ferro 3134
F: semimatte
H: Alisa Clausen: Stable, semi matt clear glaze. Smooth to touch, no noticeable difference where dipped twice.

A: Edwards Matte Grey-Pink
C: 6
E: 100 Edwards Matte Base
E: 5 tin dioxide
E: 1 chrome oxide
F: semimatte
H: Alisa Clausen: very subtle greyish pink

A: Edwards Matte Green-Blue
C: 6
E: 100 Edwards Matte Base
E: 5 rutile
E: 1 cobalt oxide
F: semimatte
H: Alisa Clausen: matt green/blue, with darker blue stripes on the low areas of throwing rings.

A: Edwards Matte Yellow-Brown
C: 6
E: 100 Edwards Matte Base
E: 12 ochre
F: semimatte
H: Alisa Clausen: matt to dry matt streaked yellow to rust brown, showed wide variations in colour from thinnest (red browns) to
thickest (creamy yellow).

A: Edwards Waxy Clear
B: William Edwards
C: 6
E: 31 frit,Ferro 3134
E: 26 silica
E: 18 talc
E: 16 kaolin,EPK
E: 9 feldspar,soda
E: 2.66 barium carbonate
F: gloss
H: Alisa Clausen: Stable, clear gloss.

A: Cartwright Black
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 73.5 feldspar,Custer
E: 10.2 iron oxide,red
E: 10 borate,Gerstley
E: 5.1 calcium carbonate
E: 4.1 kaolin
E: 4.1 copper carbonate
E: 2 cobalt carbonate
F: gloss
H: Alisa Clausen: Gloss, metallic, opaque black glaze. Slightly brownish in strong sun light. A similar recipe was published in a
Ceramics Monthly September 2005 on Jayne Shatz.

A: Bates Matte
B: Ceramic Arts Buyers Guide, 2007 Wayne Bates
B: same oxides as Reduction Matte White
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 39 nepheline syenite
E: 15 barium carbonate
E: 15 Wollastonite
E: 11 silica
E: 10 borate,Gerstley
E: 10 kaolin,EPK
F: semigloss
H: Alisa Clausen: Semi gloss, translucent glaze.

A: Bates Shiny Clear
B: Ceramic Arts Buyers Guide, 2007 Wayne Bates
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 39 nepheline syenite
E: 27 borate,Gerstley
E: 18 silica
E: 8 calcium carbonate
E: 8 kaolin,EPK
F: gloss
G: crazing
H: Alisa Clausen: Gloss, translucent glaze. Badly crazed on my clay body.

A: Bates Satin Matte Clear
B: Ceramic Arts Buyers Guide, 2007 Wayne Bates
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 35 nepheline syenite
E: 19 silica
E: 14 strontium carbonate
E: 14 Wollastonite
E: 9 kaolin,EPK
E: 9 borate,Gerstley
F: gloss
H: Alisa Clausen: Gloss, translucent glaze.

A: Altered Conrad Engobe
B: Ceramic Arts Buyers Guide, 2007 Lana Wilson
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 26 nepheline syenite
E: 20 silica
E: 17 kaolin,EPK
E: 17 ball clay,OM-4
E: 12 feldspar,Custer
E: 4 borax
E: 4 calcium carbonate
F: gloss
H: Alisa Clausen: Dry, white engobe. Lana suggests to drop nepheline syenite for very dry. Did not see significant difference in surface
with absence of Nepheline Syenite. Lana also suggests to add 10% Black Stain, sponge off.

A: Cooper Mottled White
B: Emmanuel Cooper
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 40 feldspar,Custer
E: 40 dolomite
E: 10 ball clay,OM-4
E: 5 calcium carbonate
E: 5 silica
F: gloss
H: Alisa Clausen: Semi Mat, smooth surface, white glaze. Glaze is whiter than the average dolomite white glaze, however, no mottling
evident.

A: Horsley Rust Red Reduction
B: Pat Horsley
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 53.6 kaolin,EPK
E: 28.6 calcium carbonate
E: 17.8 feldspar,Custer
E: 10 frit,Ferro 3134
E: 4 iron oxide,red
G: underfired
H: Alisa Clausen: fired electric oxidation. Dry, underfired, ochre yellow and rust brown surface.

A: Wilson Bronze Aqua
B: Ceramic Arts Buyers Guide, 2007 Lana Wilson
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 50 strontium carbonate
E: 50 nepheline syenite
E: 2.5 frit,Ferro 3289
E: 3 Bentonite
E: 6 copper oxide,black
H: Alisa Clausen: Mat, overall green glaze. Darker where thickest, lighter green where thicker, on higher parts of textured test tile.
Lana advises can run where very thick, but did not on tile. Where thickest yields bronze. My test shows pretty much an even green
with some variations in thick and thin. Can be applied over a white lichen glaze (Mark Bell). My test showed a lighter green overall.
Wilson says anywhere between 4-8 copper oxide may be used.

A: Krakowski Cream
B: Jane Deboos revised by Lili Krakowski
B: similar oxides to Dolomite Green
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 59 silica
E: 35.3 nepheline syenite
E: 29.4 ball clay,OM-4
E: 29.4 dolomite
F: semimatte
H: Alisa Clausen: Semi mat, smooth surface, cream white, even colour.

A: Green Dragon Matte
B: Ceramic Arts Buyers Guide, 2007 Harry Spring
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 44 stone,Cornwall
E: 18 calcium carbonate
E: 8 zinc oxide
E: 5 Bentonite
E: 4 titanium dioxide
E: 4 copper carbonate
E: 3 kaolin,EPK
F: matte
H: Alisa Clausen: Mat, green where thickest, browner where thinner. Glaze surface is streaked and mottled with green streaking over
brown and orange brown mottling. A lot of movement and surface variation, without dripping.

A: Horsley Shino Slip
B: Ceramic Arts Buyers Guide, 2007 Pat Horsley
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 55 alumina hydrate
E: 30 nepheline syenite
E: 5 feldspar,F-4
E: 5 spodumene
E: 5 Bentonite
F: matte
H: Alisa Clausen: Dry, engobe like white surface. Shows slightest sheen where absolute thickest.

A: Cooper Rutile
B: Emmanuel Cooper 218
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 36 feldspar,Custer
E: 28 silica
E: 22 dolomite
E: 10 rutile
E: 9 calcium carbonate
E: 5 Bentonite
F: semimatte
H: Alisa Clausen: Semi mat, opaque glaze. Surface overall is a pale grey white, with a mottled rutile beige/pink blush throughout
surface.

A: Krakowski Cream White
B: Helen McKenzie revised by Lili Krakowski
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 60 feldspar,F-4
E: 20 dolomite
E: 15 strontium carbonate
E: 2 Bentonite
F: semimatte
H: Alisa Clausen: Silk mat, smooth, opaque, even cream white glaze.

A: Horsley Aqua-Green
B: Ceramic Arts Buyers Guide, 2007 Patrick Horsley 1204
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 50 barium carbonate
E: 20 nepheline syenite
E: 15 ball clay,CC
E: 10 zinc oxide
E: 5 kaolin,EPK
E: 2.5 copper carbonate
F: semimatte
G: underfired,potentially toxic
H: Alisa Clausen: Dry to underfired, aqua and green glaze.

A: Horsley Purple/Blue
B: Ceramic Arts Buyers Guide, 2007 Patrick Horsley 1911
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 40 barium carbonate
E: 40 feldspar,Custer
E: 18 kaolin,EPK
E: 6 copper carbonate
E: 2 ball clay,CC
F: semimatte
G: potentially toxic
H: Alisa Clausen: Semi mat, opaque, smooth dark blue to turquoise glaze. Darkest purple-blue where thickest and aqua and turquoise
where thinner around edges and high areas on test tile.

A: Horsley Aqua
B: Ceramic Arts Buyers Guide, 2007 Patrick Horsley 1631
B: similar oxides to Wilson Purple Aqua
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 47.5 barium carbonate
E: 47.5 nepheline syenite
E: 9 copper carbonate
E: 5 frit,Pemco 626
E: 4 Bentonite
F: semimatte
G: potentially toxic
H: Alisa Clausen: Mat, semi opaque, smooth aqua to dark green glaze. Darker and more opaque where thickest. Texture on test tile
showed through glaze.

A: Goodrich Honey Green
B: Don Goodrich
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 20 frit,Ferro 3124
E: 20 nepheline syenite
E: 20 feldspar,Custer
E: 15 silica
E: 10 Wollastonite
E: 5 kaolin,EPK
E: 3 copper carbonate
E: 3 iron oxide,red
E: 2 dolomite
E: 1 titanium dioxide
E: .5 cobalt oxide
F: gloss
H: Alisa Clausen: Gloss, translucent, honey brown glaze. Green cast where thickest.

A: Tenmoku Gold
B: similar oxides to Red Brown Tenmoku
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 61 stone,Cornwall
E: 10 iron oxide,red
E: 8 calcium carbonate
E: 7 dolomite
E: 5.5 lithium carbonate
E: 5.5 silica
E: 3 frit,Ferro 3124
F: gloss
H: Alisa Clausen: Gloss, tenmoku brown black over all surface. Streaking throughout, a lot of movement. Moved, but did not drip off
of test tile. High contrasting mustard gold clusters of small crystals throughout surface. Will observe for shivering due to higher
amount of lithium carbonate

A: Chappel Floating Black
B: 2007 Ceramic Arts Buyers Guide
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 47.3 nepheline syenite
E: 27 borate,Gerstley
E: 20.3 silica
E: 5.4 kaolin,EPK
E: 4 iron oxide,red
E: 3 manganese dioxide
E: 2 rutile
E: 1.5 cobalt carbonate
F: gloss
H: Alisa Clausen: Semi gloss, covering glaze, dark brown with slight olive green cast.

A: Bailey Blue
B: Mike Bailey T13
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 43 feldspar,F-4
E: 22.5 calcium carbonate
E: 21.5 silica
E: 5 kaolin,EPK
E: 6 zinc oxide
E: 3 cobalt oxide
E: 2 Bentonite
F: gloss
H: Alisa Clausen: Gloss, medium to dark translucent blue, even colour.

A: Horsley Matte Black
B: Ceramic Arts Buyers Guide, 2007 Patrick Horsley 1134C
C: 6 reduction
D: cool maximum rate to 900C hold 1 hour
E: 41 barium carbonate
E: 20 nepheline syenite
E: 20 kaolin,EPK
E: 11 silica
E: 6 lithium carbonate
E: 2 Bentonite
E: 2 iron oxide,red
E: 2 manganese dioxide
E: 2 cobalt carbonate
E: 2 chrome oxide
F: matte
G: underfired,potentially toxic
H: Alisa Clausen: fired electric oxidizing. Underfired, mat to dry, opaque, but smooth surface. Very dark brown to black.

A: Schran Orange Brown
B: Bill Schran
B: similar oxides to Rust Nutmeg, Nutmeg Semimatte, Nutmeg and Nutmeg 1
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 25 silica
E: 17.5 dolomite
E: 17.5 spodumene
E: 17.5 ball clay,OM-4
E: 8 borate,Gerstley
E: 5 frit,Ferro 3134
E: 5 feldspar,F-4
E: 3.5 talc
E: 3.5 tin dioxide
E: 2.5 ochre
E: 1.5 iron oxide,red
E: 1 kaolin,EPK
F: gloss
H: Alisa Clausen: Glossy, translucent medium brown where thinner, more covering where thicker. Even colour overall.

A: Noxema Blue
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 48.3 feldspar,Custer
E: 23.2 Wollastonite
E: 11.1 kaolin,EPK
E: 10.1 borate,Gerstley
E: 4.5 silica
E: 2.8 cobalt carbonate
F: gloss
H: Alisa Clausen: Gloss, translucent medium to dark blue glaze, uniform in colour.

A: Clausen ToDo White 1
B: ToDo 40/10 adjusted nepheline and added talc.
C: 6
D: cool maximum rate to 900C hold 1 hour
E: 40 nepheline syenite
E: 25 dolomite
E: 20 ball clay,OM-4
E: 10 talc
E: 6 Wollastonite
F: matte
H: Alisa Clausen: Similar to ToDo White, this glaze is mat, covering surface and smooth. With the extra talc, the glaze is a little more
of a silk mat with a toast colour mottling throughout the surface.

A: Borate Iron Red
B: published under many names
C: 6
D: cool maximum rate to 950C hold 1 hour
E: 32 borate,Gerstley
E: 30 silica
E: 20 feldspar,Custer
E: 15 iron oxide,red
E: 14 talc
E: 6 ash,bone
E: 5 kaolin,EPK
E: 2 Bentonite
F: gloss
H: John Sankey: Thickness of application is a major determining factor in colour of this glaze; cooling schedule is also important. Rust
red to muddy browns with green, honey, rust, even blue nuances are produced depending on these factors. Bone ash (phosphorus)
makes it a more reliable red, but not nearly as reliable as Baldwin Red.

A: Willett Cobalt Green
B: Jim Willett
B: similar oxides to Mayan Blue, Mayan Black and EZ Clear
C: 6
E: 49 borate,Gerstley
E: 32 silica
E: 19 kaolin,EPK
E: 2 Bentonite
E: 2 chrome oxide
E: 2 cobalt carbonate
F: gloss
H: John Sankey: needs to be applied thickly to keep its colour, but does not sag or move. My favourite deep green.
H: Alisa Clausen: deep pine green shiny with a slightly teal cast. Opaque and covered evenly over rim. Unnoticeable difference where
double dipped. I like the colour and texture very much.

A: Selsor Waxy White
B: Marica Selsor
C: 6
E: 30 nepheline syenite
E: 20 borate,Gerstley
E: 18 talc
E: 15 zirconia
E: 13 kaolin,EPK
E: 10 silica
E: 9 calcite
F: semigloss
H: John Sankey: soft white shading to light brown where thin, gives a smooth surface with a lovely feel and excellent coverage.
H: Alisa Clausen: semi mat, whitish yellowish gloss, transparent, good feel.

A: Marilee Lava
B: Rick Malmgren
C: 6
E: 50 feldspar,Custer
E: 24 calcite
E: 13 kaolin,EPK
E: 13 silica
E: 11 titanium dioxide
E: 0.3 silicon carbide
F: cratered
H: John Sankey: this glaze gets its texture from calcite decomposition at 870°C (it is 40% CO2) followed by silicon carbide
decomposition when alkalis in the glaze melt releasing more CO2 bubbles, and by being underfired therefore very stiff at cone 6. With
10g Mason 6600 stain, looks like volcanic rock. Very rough surface, non-functional, most suitable for large scale pieces, but
spectacular.

A: Zakin Clear
B: Richard Zakin
C: 6
E: 51 nepheline syenite
E: 22 borate,Gerstley
E: 14 Wollastonite
E: 8 kaolin,EPK
E: 3 zinc oxide
E: 2 titanium dioxide
F: gloss
H: John Sankey: a fluid glaze that can be applied very thin and still seal evenly. Good for applying over non-toxic underglaze, but has
too little silica to be functional with any colorant that could cause problems if it leached. Its expansion is high, but it withstands the
usual freezer to boiling water test when dipped thinly on my stoneware. It will be safest on high-expansion clays.
H: Alisa Clausen: substituting frit 169 for G.B, gloss, translucent, crazed

A: Reed Glory Black
B: similar oxides to Black Gloss, Barringer Metallic Black, Frogpond Metallic Black and Black Semigloss
C: 6
E: 11 borate,Gerstley
E: 79 feldspar,Custer
E: 6 manganese dioxide
E: 5 kaolin,EPK
E: 5 calcium carbonate
E: 4 copper carbonate
E: 2 cobalt oxide
E: 1 iron oxide,red
F: gloss
H: Lori Wilkinson: a true glossy black

A: Mirror Black
C: 6
E: 42 feldspar,Custer
E: 26 silica
E: 15 kaolin,EPK
E: 15 calcium carbonate
E: 12 zinc oxide
E: 8 iron oxide,red
E: 2 cobalt carbonate
F: gloss
H: Lori Wilkinson: a true glossy mirror black

A: Black With Gold
C: 6
E: 47.8 clay,Redart
E: 35.6 manganese dioxide
E: 4.9 copper carbonate
E: 3.9 silica
E: 3.9 ball clay,Kentucky
E: 3.9 cobalt carbonate
F: matte
H: Lori Wilkinson: dull satin black with a bronze cast

A: Ash Glaze
C: 6
E: 40 clay,Redart
E: 30 frit,Ferro 3124
E: 30 ash,hardwood
E: 4 rutile
F: gloss
H: Lori Wilkinson: I used sieved unwashed fireplace ash. An excellent honey gold gloss. Add 3% cobalt for a perfect black.

A: Fake Ash
C: 6
E: 50 borate,Gerstley
E: 25 clay,Barnard
E: 25 kaolin,EPK
F: gloss
H: Lori Wilkinson: nice light glossy golden brown, not a runny glaze

A: Honey Gold Fake Ash
C: 6
E: 43.2 feldspar,Custer
E: 23.46 silica
E: 12.35 borate,Gerstley
E: 11.11 calcium carbonate
E: 9.88 kaolin,EPK
E: 9.88 iron oxide,red
F: gloss
H: Lori Wilkinson: glossy light honey gold, much like a fake ash

A: Kemp Soft Green
C: 6
E: 67 nepheline syenite
E: 10 dolomite
E: 8 kaolin,EPK
E: 9 silica
E: 6 zinc oxide
E: 3 copper carbonate
F: gloss
H: Lori Wilkinson: exquisite light green gloss

A: Zakin Dark Blue
B: Richard Zakin Electric Kiln K15-1
C: 6
E: 40 nepheline syenite
E: 18 dolomite
E: 18 silica
E: 12 kaolin
E: 6 ash,bone
E: 2 lithium carbonate
E: 4 zinc oxide
E: 2 copper carbonate
F: semigloss
H: Sharon LaRocca-Miranda: a dark blue glaze, nice texture, works well thin. Semi-matt. If thick then it is gloss and really blue
(should sell like crazy...)
H: Alisa Clausen: Gloss, fluid, dark green, covering glaze. Smooth surface. Dripped and ran where thickest around base of test tile.

A: Zakin New Tyler Amber
B: Richard Zakin Electric Kiln
C: 6
E: 60 clay,Redart
E: 20 frit,Ferro 3110
E: 20 borate,Gerstley
F: gloss
H: Sharon LaRocca-Miranda: amber with tiny black flecks, shiny, translucent.

A: Zakin Blueberry Blue
B: Richard Zakin Electric Kiln TMH-4
E: 46 feldspar,soda
E: 18 ball clay
E: 18 zirconia
E: 10 Wollastonite
E: 8 borate,Gerstley
E: 2 cobalt oxide
F: matte
G: underfired
H: Sharon LaRocca-Miranda: horrible gummy blue, opaque, looks like blueberry chewing gum.
H: Alisa Clausen: Underfired. Dry, medium blue in colour, rough, underfired mat surface.

A: Chappell Floating Blue
B: James Chappell The Potters Complete Book of Clay and Glazes
B: same oxides as Slate Blue With Green Specks, similar to Blue Jean Blue and Cobbled Floating Blue
C: 6
E: 47.3 nepheline syenite
E: 27 borate,Gerstley
E: 20.3 silica
E: 5.4 kaolin,EPK
E: 4 rutile
E: 2 iron oxide,red
E: 1 cobalt oxide
E: 1 gum,CMC
F: gloss
H: Candice Roeder: a deep blue-brown background of great depth with lighter mottled blues that seem to float on the surface of the
background glaze. with more of the lighter mottled blues where the application is thickest. Watch thickness near the bottom of the pot.
It fires best on the light side of cone 6 (standard cone just bending), seems to get greener and more fluid the higher you go. Cone 5
works well, too. The book says to weigh the ingredients very carefully, use distilled water or water that is known to have a low mineral
content. Mix then add the CMC solution. The book warns that the glaze is fickle, and recommends against firing this glaze in the same
kiln with glazes that contain copper, chrome, nickel or manganese. Mineral content of the water is an important factor. I have noticed
an adverse effect as the author noted, and now fire an entire kiln load of this glaze.
H: Martha Muzychka: not what I expected, mostly green with a few spots of blue. On black stoneware clay, it gives an unusual cloudy
effect.
H: Ivy Glasgow: a popular and beautiful (when done right) glaze. The original Floating Blue pigments have been tested and found to
be food safe. When floating blue works, it is lovely. Key seems to be firing to no more than Cone 5-1/2 and cooling quickly.
H: James Chappell: the colours seem to float on a surface of a darker background of great depth, reminiscent of a deep pool of water.
Its colour and opacity vary greatly with thickness so it highlights irregularities in the surface. Phase separation in the translucent matrix
makes the colour swirl as small rivulets of more fluid glass flow around more viscous phases. Titanium crystals in the matrix make it
sparkle. Calcium-borate boron-blue crystals grow on the surface. Bubbles of escaping gases create pools of lighter coloured glass
surrounded by darker rings. Small black speckles are produced by unground particles of iron. Use distilled or low mineral water, force
all material through an 80 mesh screen, stir thoroughly before and during use to prevent settling out of the iron content, apply the
thickness of a dime, fire to cone 6 oxidation exactly, and cool normally. Do not substitute any other chemicals for those given, it is a
fickle glaze. It depends on the Gerstley borate to suspend it.

A: Chappell Floating Green
B: Ivy Glasgow
C: 6
E: 47.3 nepheline syenite
E: 27 borate,Gerstley
E: 20.3 silica
E: 5.4 kaolin,EPK
E: 6 rutile
E: 5 tin dioxide
E: 4 copper carbonate
F: gloss
G: leaches
H: Ivy Glasgow: a much more forgiving colour than floating blue. High temps, long soaks, or fast cooling are just fine with it. Its
colour changes when soaked overnight in vinegar, so is not a stable glaze.

A: Slate Blue With Green Specks
B: derived from Chappell Floating Blue
B: same oxides as Chappell Floating Blue, similar to Blue Jean Blue and Cobbled Floating Blue
C: 6
E: 47.3 nepheline syenite
E: 27 borate,Gerstley
E: 20.3 silica
E: 5.4 kaolin
E: 4 rutile
E: 2 iron oxide,red
E: 2 Bentonite
E: 1 cobalt carbonate
F: gloss
H: Sharon LaRocca-Miranda: a really nice slate blue with green specks, gloss, translucent.

A: Mayan Blue
B: similar oxides to Willett Cobalt Green, Broken Blue and EZ Clear
C: 6
E: 50 borate,Gerstley
E: 35 silica
E: 15 kaolin,EPK
E: 1 Bentonite
E: 1 chrome oxide
E: 1 cobalt carbonate
F: gloss
H: Martha Muzychka: nice gloss, good fit, and smooth feel.

A: Mayan Black
B: similar oxides to Willett Cobalt Green
C: 6
E: 50 borate,Gerstley
E: 35 silica
E: 15 kaolin,EPK
E: 1 Bentonite
E: 2 chrome oxide
E: 2 cobalt carbonate
E: 2 iron oxide,black
F: gloss
H: Martha Muzychka: an interesting black. Where it is thick, there are spots of dark blue floating over a soft black. Where it is thin it
is a very dark green black (like a mussel shell).

A: Glassy Green
C: 6
E: 51 spodumene
E: 26 borate,Gerstley
E: 23 silica
E: 5 copper carbonate
E: 1 Bentonite
E: 0.5 iron oxide,red
F: gloss
H: Martha Muzychka: a clear high gloss leaf green, darker where it has pooled. It was
best when dipped, looked very splotchy when brushed.

A: Army Green
C: 6
E: 50 feldspar,Custer
E: 18.6 calcium carbonate
E: 14.7 kaolin,EPK
E: 10.8 zinc oxide
E: 5.9 silica
E: 3 rutile
E: 2.5 cobalt carbonate
F: semigloss
H: Martha Muzychka: a lovely silky feel, nice olive green, mottled, and dark blue where thick and/or pooled.

A: Coffee Cream
C: 6
E: 56.18 nepheline syenite
E: 13.48 clay,Redart
E: 20.23 calcium carbonate
E: 12.36 zirconia
E: 6.74 iron oxide,red
E: 5.62 Wollastonite
E: 4.49 magnesium carbonate
F: semimatte
H: Martha Muzychka: a smooth satin finish, a bit dry if it is very thin, a creamy yellow tan where thick with dark red underneath. Did
not look very nice over black clay -- very dull and dry looking brown red.

A: Pike Satin Purple
B: similar oxides to Colemanite Pike Oatmeal and Colemanite Pike Purple Oatmeal
C: 6
E: 37.34 feldspar,Custer
E: 22.72 silica
E: 13.61 talc
E: 12.71 Colemanite
E: 6.41 dolomite
E: 4.5 kaolin
E: 2.7 zinc oxide
E: 1.75 cobalt carbonate
F: matte
H: Martha Muzychka: Easter egg purple, satin surface with a good fit. 3.3 cobalt carbonate should be used to get a dark purple.

A: Kemp Base 5
B: similar oxides to Kemp Soft Green
C: 6
E: 67 nepheline syenite
E: 10 dolomite
E: 8 kaolin
E: 9 silica
E: 6 zinc oxide
H: Martha Muzychka: not nice at all, very pale with brown streaks. With 1.5 copper carbonate and 0.25 cobalt oxide, breaks to an icky
greyish brown where thick.
H: Alisa Clausen: With 3 copper carbonate, shiny green overall with dark (not esp. pink) speckles in bottom of test bowl. I like this
green very much, very bright and clear like the green on a Macintosh apple or a darkish celedon, and there is no G.B. I think this glaze
would complement a speckled iron clay body nicely for some real play in the surface.

A: Sharon Golden Ash
B: similar oxides to Golden Fake Ash
C: 6
E: 28 clay,Redart
E: 24.54 dolomite
E: 21.04 ball clay
E: 9.94 borate,Gerstley
E: 9.43 strontium carbonate
E: 5.26 ash,bone
E: 1.79 lithium carbonate
E: 1 Bentonite
E: 1 Epsom salts
H: Emily Henderson: a lovely golden tone with bronzy and green rivulets, not too fluid despite the rivulets.

A: Iron Blue Water
B: similar oxides to Michigan Blue and Xavier Satin Matte
C: 9-10
E: 35 feldspar,Custer
E: 19 silica
E: 17 ball clay
E: 12 calcium carbonate
E: 7 dolomite
E: 2 iron chromate
E: 0.5 cobalt carbonate
F: gloss
H: Sam Cuttell: deep olive green, overlaps are very forgiving, no depth.

A: Oatmeal
C: 9-10
E: 31.5 feldspar,Custer
E: 28.1 borate,Gerstley
E: 20 kaolin,EPK
E: 16.8 talc
E: 15.5 zirconia
E: 1 iron oxide,red
E: 0.68 lithium carbonate
F: semigloss
H: Sam Cuttell: lovely oatmeal, no glaze movement, cream/tan with specks, satin gloss. does not show overlaps.

A: Buck Cream Breaking Red
B: Tom Buck
C: 6-7
E: 41 feldspar,G-200
E: 25 silica
E: 22 borate,Gerstley
E: 13 tin dioxide
E: 9 calcium carbonate
E: 6 iron oxide,red
E: 3 strontium carbonate
F: gloss
H: Collen Raynor: a predominately rust glaze with a cream coloured speckle.
H: John Post: rust coloured where thin or where it breaks over an edge, cream where applied more thickly. A nice looking cream and
rust gloss glaze.
H: John Anthony: I like this glaze a lot, its very rich.

A: Berry Rust
C: 7-10
E: 27.28 silica
E: 18.18 kaolin,EPK
E: 18.18 nepheline syenite
E: 9.09 dolomite
E: 9.09 borate,Gerstley
E: 9.09 talc
E: 9.09 ash,bone
E: 9.09 iron oxide,red
H: John Post: works best if applied thin, turns greenish where thick. Seems to yield redder fired results as the glaze ages in the bucket.
H: Wendy Moore: on porcelain at cone 10 in reduction, a beautiful brown/burgundy/gold, almost a hares fur looking glaze. It has
become a favourite in the community college studio I work in. It is not as nice on stoneware.

A: Soft Grey Matte
C: 6
E: 45 feldspar,F-4
E: 18 calcium carbonate
E: 25 ball clay,OM-4
E: 12 zinc oxide
F: matte
H: Terri Storer: soft warm gray opaque matt, a bit mottled on horizontal surfaces. My white stoneware has a little granular ilmenite in
it, and small spots bleed through.

A: Soft Grey Matte 1
B: Ron Roy revision of Soft Grey Matte
C: 6
E: 22 feldspar,F-4
E: 22 feldspar,Custer
E: 18.5 calcium carbonate
E: 11.5 ball clay,OM-4
E: 11.5 kaolin,EPK
E: 12 zinc oxide
E: 2.5 silica
F: matte
H: Terri Storer: soft cool gray opaque matt, a bit mottled on horizontal surfaces.

A: Soft Grey Matte 2
B: Ron Roy revision of Soft Grey Matte
C: 6
E: 20 feldspar,F-4
E: 20 nepheline syenite
E: 18 calcium carbonate
E: 11 ball clay,OM-4
E: 11 kaolin,EPK
E: 12 zinc oxide
E: 8 silica
F: matte
H: Terri Storer: soft silvery gray opaque matt, a bit mottled on horizontal surfaces, dry and sugary where thick.

A: Sapphire Blue
B: similar oxides to Frogpond Sapphire Blue
C: 6
E: 37 frit,Ferro 3134
E: 26 kaolin,EPK
E: 17 silica
E: 4 strontium carbonate
E: 16 feldspar,Custer
E: 4.5 rutile
E: 2.5 cobalt carbonate
H: Diane Woloshyn: cobalt leaching less than detectable limits. This needs to be applied heavily and will run if not settled well.
H: Andie Carpenter: it can be stunning or not so depending upon the thickness of application, the type of kaolin used, where it is in the
kiln, where it is on the shelf in the kiln, if the moon is in its fullest phase... Cobalt leach test 0.13 MG/L

A: Stonehenge Blue
B: Gus Morcate
B: similar oxides to Render Satin Matte
C: 6
E: 5.6 silica
E: 18.8 calcium carbonate
E: 51.6 feldspar,soda
E: 15.4 kaolin,EPK
E: 8.6 zinc oxide
E: 4 rutile
E: 1 cobalt carbonate
E: 3 ilmenite
F: gloss
H: Diane Woloshyn: a very pretty glaze on both light and dark clay. Cobalt leaches, not food safe.

A: Stonehenge Baby Blue
B: Diane Woloshyn
C: 6
E: 5.6 silica
E: 18.8 calcium carbonate
E: 51.6 feldspar,soda
E: 15.4 kaolin,EPK
E: 8.6 zinc oxide
E: 0.4 rutile
E: 0.1 cobalt carbonate
E: 0.3 ilmenite
F: gloss
H: Diane Woloshyn: a very pretty mottled baby blue on both light and dark clay.

A: Falls Creek Shino
C: 6
E: 56.1 slip,Albany
E: 18.7 borate,Gerstley
E: 9.35 feldspar,soda
E: 9.35 silica
E: 6.55 lithium carbonate
E: 9.35 zirconia
E: 4.67 tin dioxide
H: Andie Carpenter: Lithium leaching below detectable limits. I use this a lot.

A: Xavier Jade Green
B: Heidi Haugen
C: 6
E: 40 feldspar,Custer
E: 16 calcium carbonate
E: 16 silica
E: 10 kaolin,EPK
E: 9 talc
E: 9 frit,Ferro 3124
E: 6 rutile
E: 4 copper carbonate
H: Cindy Strnad: used 3134 frit instead of 3124. A beautiful, pale variegated green-turquoise where thin, non-variegated where thicker.
I liked the thin bits best. Dipping a rather too-large test bowl in a rather too-small test glaze container makes for a lot of variegations in
thickness, and this added to the interest of the finished surface. Leach tests unusually stable for a copper-containing glaze.

A: Gibby Wild Rose
B: same oxides as MacMillian Wild Rose Tenmoku
C: 6
E: 55.7 nepheline syenite
E: 15.8 kaolin,EPK
E: 9.5 lithium carbonate
E: 9.5 ash,bone
E: 9.5 iron oxide,red
F: metallic
H: Cindy Strnad: a variegated black and metallic copper surface, absolutely stunning. This glaze is high on alumina, low on silica, high
in lithium. It would not be suitable for food--it does not even look like something I would want to eat food from, but it is gorgeous.
H: Ian Macmillan: works beautifully for me and looks very impressive. It is a slightly runny, patchy glaze, mostly a shiny copper with
patches of dull brown. My friends find it fascinating.

A: Old Gold Albany
B: Marty Anderson
C: 6
E: 56.2 clay,Redart
E: 12 zirconia
E: 10 lithium carbonate
E: 7.8 calcium carbonate
E: 6.2 feldspar,Custer
E: 3.9 talc
E: 3.9 kaolin,EPK
F: matte
H: Cindy Strnad: satiny matte with areas of dark gold-brown edged by areas of lighter tan-gold. A lovely smooth, waxy surface, may
not be food-safe. It is high in lithium and I am considering having it tested. It would be nice if it were to pass.

A: Clear Satin Matte
B: Chris Schafale
B: similar oxides to Butter Base
C: 6
E: 8 talc
E: 8 dolomite
E: 23 kaolin,EPK
E: 6 silica
E: 37 feldspar,Custer
E: 18 frit,Ferro 3134
F: matte
H: Cindy Strnad: Of course, there is no such thing as a truly clear matte, it is like a clear frosted window. It does allow light to come
through, but it obscures what is underneath. Applied thinly, it is more matte and more translucent.

A: Anderson Sandy Brown
B: Marty Anderson
C: 6
E: 29.6 feldspar,potash
E: 22.2 silica
E: 22.2 calcium carbonate
E: 11.1 kaolin,EPK
E: 7.4 zinc oxide
E: 3 rutile
E: 3 iron oxide,red
E: 3 iron oxide,black
E: 2 Bentonite
H: Ababi Sharon: a warm sandy brown. In some works I print leaves, when bone dry add manganese, clean with steel wool and fire. I
get really beautiful, yet delicate, results

A: New Blue
B: similar oxides to White Semigloss and Le Matte
C: 6
E: 51 feldspar,Custer
E: 18.6 calcium carbonate
E: 10.8 kaolin
E: 8.7 zinc oxide
E: 5.9 silica
E: 4.9 Bentonite
E: 1 cobalt carbonate
F: gloss
H: Alisa Clausen: Glaze is consistent and has shiny surface with a typical cobalt blue colour. Not exciting but stable. Gives a very dark
marine blue where thickest. Interacted fine with a transparent, white and a darker blue I tested it over.

A: Midnight Blue
C: 6
E: 44 feldspar,Forshammer
E: 22 kaolin
E: 17 calcium carbonate
E: 8 ball clay
E: 5 cobalt oxide
F: matte
H: Alisa Clausen: an interesting glaze, producing a matted blue on the surface over an almost black ground. The blue areas are the
thickest areas and have a purplish tone, a nice decorative glaze. Brought up a lighter blue with a transparent over it. Very mat surface
by itself.

A: Hal Pale Apple
C: 6-10
E: 40 feldspar,Custer
E: 20 stone,Cornwall
E: 20 calcium carbonate
E: 20 kaolin
E: 7 zinc oxide
E: 6 ochre
E: 6 rutile
F: gloss
H: Alisa Clausen: A keeper for my pallet, very good colour and surface results, a mottled, light yellow-green, shiny surface. Where
thicker, the green is more pronounced but has very soft edges, fading into the a yellowish ground. Brown edges where thin. A
transparent glaze over it brought up more browns. A glaze with many colour nuances and nice flat surface.

A: Robins Egg Blue
C: 6
E: 48 feldspar,Custer
E: 19 dolomite
E: 15 kaolin,calcined
E: 9.5 zinc oxide
E: 8.5 silica
E: 1.5 copper oxide,black
E: 1 rutile
E: 0.25 cobalt oxide
F: gloss
H: Alisa Clausen: used plain kaolin instead of calcined. Produced a shiny grey, I believe I used too little cobalt. I have only a whole
gram scale, so I was manually dividing it. But the surface was even and shiny. The grey is a nice colour as it is. Stable, showing little
difference from thick to thin.

A: Wolff Plum
B: Ceramics Monthly, May 2000 Chris Wolff
C: 6
E: 60.9 feldspar,Custer
E: 13 borate,Gerstley
E: 11.5 iron oxide,red
E: 8.7 calcium carbonate
E: 8.7 kaolin
E: 8.7 silica
F: gloss
H: Alisa Clausen: A speckled deep brown with rust and light brown specks, very shiny and smooth surface. It fired evenly from
thinner to thicker, no different breaking colour.

A: Wolff Cream Gloss
B: Ceramics Monthly, May 2000 Chris Wolff
C: 6
E: 35 feldspar,Custer
E: 30 borate,Gerstley
E: 15 clay,Vitrox
E: 10 calcium carbonate
E: 10 silica
E: 3 rutile
E: 2 iron oxide,red
F: gloss
H: Alisa Clausen: used Cornwall stone for P.V. Clay. An opaque cream under very shiny clear. Interesting structure under the gloss.
Nice flat surface, evenly melted. When applied over Wolff Plum, a shiny, smooth honey brown gloss, with beautiful opalescent
breaking over the high areas and where it pooled, beautiful, fluid changes of colour all over the vessel. I mixed my batch a little thick
to test for dripping and even with two layers of reasonably thick glazes, it pooled to a bright opalescence, but did not drip off the foots
of the pots. I am really impressed with this combination as it is the type of surface I personally like very much for decorative vessels.

A: Persimmon
C: 6
E: 46 borate,Gerstley
E: 29.4 silica
E: 22.5 kaolin,EPK
E: 9.8 iron oxide,red
E: 2 ash,soda
F: gloss
H: Alisa Clausen: a dark brown, reddish iron nuance. Needs to be applied evenly, dipped gave even results. Shiny, smooth, not too
exciting by itself, but under Cream Gloss gave whitish to very blue opalescence with a honey ground, similar to combination of Plum
and Cream Gloss.

A: Wine Red
B: Clay Times, March/April 2005 Richard Burkett
B: similar oxides to Rodgers Wine Purple, Edwards Red and Chrome Tin Red-Green
C: 6
E: 32 silica
E: 21 borate,Gerstley
E: 20 calcium carbonate
E: 16 nepheline syenite
E: 11 kaolin
E: 5 tin dioxide
E: 0.15 chrome oxide
F: semigloss
H: Alisa Clausen: a semigloss red. I was surprised by the depth of colour. It is a deep wine red. It broke more or less clear where it is
thin, making a mottled red/body-colour covering. I think this glaze will be exciting to try on a porcelain for a fake reduced red. Needs
to be applied evenly for dark colour, such as dipped. Smooth surface. The Clay Times version added 0.25 cobalt carbonate.

A: Selsor Ohata Red
B: Marcia Selsor
C: 6R
E: 52 feldspar,Custer
E: 14 ash,bone
E: 12 silica
E: 8 dolomite
E: 8 iron oxide,red
E: 6 kaolin
E: 4 borate,Gerstley
E: 4 lithium carbonate
F: semigloss
H: Marcia Selsor: satin black, breaks to red/rust.
H: Alisa Clausen: fired oxidising. A semi glossy rather dull brown. The colour is a flat dark brown, almost black where thickest. Did
not drip or run.

A: Selsor Matt 1
B: Marcia Selsor revised Ron Roy
C: 6
E: 32 kaolin,EPK
E: 24 dolomite
E: 15 frit,Ferro 3134
E: 14 feldspar,G-200
E: 13 nepheline syenite
E: 2 silica
F: semimatte
H: Alisa Clausen: Clean, good, semi matt. Did not craze. I dipped half a cup in the original recipe and the other half in the revised
formula. Cannot see any difference in glazes. Overall surface on convex surface is smooth, but there are differences from matt to fairly
glossy, and milky and glossy where thickest. Inside of cup is a consistent, smooth gloss.

A: Selsor Sexy Black
B: Marcia Selsor
C: 6
E: 54.5 feldspar,F-4
E: 25 silica
E: 11.75 calcium carbonate
E: 10 iron oxide,red
E: 6.5 kaolin,EPK
E: 2.5 manganese dioxide
F: gloss
H: Alisa Clausen: a deep iron brown glossy glaze with some speckling. This glaze in oxidation resembles Wolff Plum. It could be a
good substitute for that glaze when the G.B. runs out. It has a nice surface with some play in the colour, due to the lighter spots. Where
it was thickest over the rim of the test cup, it had a rougher surface with very slight craters. No dripping or running.
H: Marcia Selsor: when fired 6R, breaks rust/brown where thin but a satin surface when thick.

A: Selsor Paul Yellow
B: Marcia Selsor
C: 6
E: 45 frit,Ferro 3134
E: 20 barium carbonate
E: 10 dolomite
E: 15 zirconia
E: 5 kaolin,EPK
E: 3 calcium carbonate
F: matte
G: potentially toxic
H: Alisa Clausen: a matt light honey yellow ground with white crystal like highlights. Edges are a toast brown. Smooth surface outside
test cup. Inside cup, glaze is very dry and cratered. Still feels smooth, interesting surface for decorative if one seeks a dry, thick glaze. I
could see these thickly applied properties on the inside of a large decorative bowl or on a relief.

A: Pike Oatmeal
B: similar oxides to Waxy Turquoise Green and Colemanite Pike Oatmeal
C: 6
E: 37.3 feldspar,Custer
E: 22.7 silica
E: 13.6 talc
E: 12.7 borate,Gerstley
E: 6.4 dolomite
E: 4.5 kaolin
E: 2.7 zinc oxide
F: Semimatte
H: Alisa Clausen: stable, smooth, semimatte glaze, yellowish on the clay body and some whitish pooling in the middle of test bowl.
Neutral.

A: Colemanite Pike Oatmeal
B: Alisa Clausen derived from Pike Oatmeal
B: similar oxides to Pike Satin Purple and Pike Oatmeal
C: 6
E: 37.3 feldspar,Custer
E: 22.7 silica
E: 13.6 talc
E: 12.7 Colemanite
E: 6.4 dolomite
E: 4.5 kaolin
E: 2.7 zinc oxide
F: semimatte
H: Alisa Clausen: very similar results to Pike Oatmeal, stable, semi matt, clear.

A: Pike Oatmeal Purple
C: 6
E: 100 Pike Oatmeal
E: 3.3 cobalt carbonate
F: Semigloss
H: Alisa Clausen: heather purple satin mat with some glossy patches.

A: Colemanite Pike Purple Oatmeal
B: Alisa Clausen
B: similar oxides to Pike Satin Purple
C: 6
E: 37.3 feldspar,Custer
E: 22.7 silica
E: 13.6 talc
E: 12.7 Colemanite
E: 6.4 dolomite
E: 4.5 kaolin
E: 3.3 cobalt oxide
E: 2.7 zinc oxide
F: semimatte
H: Alisa Clausen: very similar results to Pike Purple Oatmeal except more a grey blue than the original. Similar in amount of variation
in colour from thick to thin. Smooth, stable semi matt to matt glaze. Grey blue where thickest, lighter blue where thinnest.

A: Albany Dark Blue Flecks
B: Kendra Bogert
C: 6
E: 80 slip,Albany
E: 15 borate,Gerstley
E: 5 cobalt carbonate
F: gloss
H: Kendra Bogert: black base with dark blue flecks. Used it for 20 years. Runny with our newest Albany Slip.

A: Gerstley Green
B: Kendra Bogert
C: 6
E: 50 borate,Gerstley
E: 30 silica
E: 20 kaolin
E: 3 copper oxide,red
E: 3 rutile
F: gloss
H: Kendra Bogert: clear green, brighter green pools on texture and where thick. Used it for 20 years.

A: Iguana Green
B: Kendra Bogert
C: 6
E: 30 frit,Ferro 3110
E: 20 nepheline syenite
E: 15 borate,Gerstley
E: 12.5 tin dioxide
E: 2 copper carbonate
E: 1 Bentonite
F: gloss
H: Kendra Bogert: thin coat starts out orange, but two turns into a bright and shiny turquoise or green. Used it for 20 years. Crazes
where it is very, very thick.

A: Lewing Raspberry
B: Paul Lewing
C: 6
E: 27 feldspar,Custer
E: 9 kaolin,EPK
E: 21 calcium carbonate
E: 18 silica
E: 9 frit,Ferro 3134
E: 8 talc
E: 8 borate,Gerstley
F: gloss
H: Alisa Clausen: Clear, stable, shiny gloss. No noticeable differences where double dipped. Some crystals where especially thick
under rim. Nice. Same recipe tested with 8 Colemanite for Gerstley Borate, no discernable difference, except colemanite version had a
very small bluish pool in test bowl center. I think this sub. works.

A: Selsor Turquoise
B: Marcia Selsor
C: 6
E: 61.27 nepheline syenite
E: 31.94 strontium carbonate
E: 14.7 lithium carbonate
E: 2.85 copper carbonate
E: 2.47 silica
F: matte
H: Alisa Clausen: the original used barium carbonate and was for reduction. A hard, dry matt with colour nuances ranging from toast
brown on the edges and where thin. Over test vessel outer wall, colours are brown on high areas of throwing rings, grey turquoise in
lower areas, and a lighter grey turquoise under rim. Inside, glaze has all the same colours as outside, but with patches of bright
turquoise in the bottom under the rim. and scattered on the walls. This is the glaze in my pallet that makes all the tests worth the trying.

A: Emily Blue
C: 6
E: 34 feldspar,Custer
E: 18 borate,Gerstley
E: 14 talc
E: 11 ball clay
E: 10 silica
E: 6 dolomite
E: 4 zirconia
E: 3 cobalt carbonate
F: semigloss
H: Alisa Clausen: Stable, semi gloss, opaque toned down blue with an appealing purple/grey cast. Nice.

A: Colemanite Emily Blue
B: Alisa Clausen revision of Emily Blue
C: 6
E: 34 feldspar,Custer
E: 18 Colemanite
E: 14 talc
E: 11 ball clay
E: 10 silica
E: 6 dolomite
E: 4 zirconia
E: 3 cobalt carbonate
F: semigloss
H: Alisa Clausen: results very similar to G.B. version, stable, semigloss, opaque toned down blue with a appealing purple/grey cast.

A: Xavier Satin Matte
B: Gregory Lamont
B: similar oxides to Cushing Base 7 and Iron Blue Water
C: 6
E: 40 feldspar,Custer
E: 16 calcium carbonate
E: 16 silica
E: 10 kaolin,EPK
E: 9 frit,Ferro 3124
E: 9 talc
F: matte
H: Alisa Clausen: Clear satin matt, Stable and did not drip. Some white crystals where it was double dipped. With added 1% cobalt,
shiny blue with lavender crystals.

A: Colemanite Persimmon
B: Alisa Clausen
C: 6
E: 46.08 Colemanite
E: 29.41 silica
E: 22.55 kaolin,EPK
E: 9.8 iron oxide,red
E: 1.96 ash,soda
F: underfired
H: Alisa Clausen: the original used G.B. Substitution does not work. Glaze looks underfired, mud brown.

A: Colemanite Floating Blue
B: Alisa Clausen
C: 6
E: 47.3 nepheline syenite
E: 27,0 Colemanite
E: 20,3 silica
E: 5,4 kaolin
E: 4 rutile
E: 2 Bentonite
E: 2 iron oxide,red
E: 1 cobalt oxide
F: gloss
H: Alisa Clausen: an overall shiny, brownish test bowl, with a greenish pool in center, and spots with floating blue throughout
especially on the thinner edges.

A: Wolff Cream Gloss 1
B: Wolff Cream Gloss revised by Ron Roy
C: 6
E: 45.5 frit,Ferro 3134
E: 19 feldspar,Custer
E: 14.5 kaolin,EPK
E: 10.5 silica
E: 6 stone,Cornwall
E: 4.5 talc
F: gloss
H: Alisa Clausen: Replicated original recipe with no discernable difference.

A: Speckled Blue
B: similar oxides to Adam Clear and EZ Clear
C: 6
E: 50 borate,Gerstley
E: 35 silica
E: 30 kaolin,EPK
E: 2 cobalt oxide
F: gloss
H: Alisa Clausen: shiny, cobalt blue, stable.

A: Rodgers Wine Purple
B: John Rodgers
B: similar oxides to Wine Red, Edwards Red and Chrome Tin Red-Green
C: 5-6
E: 100 Wine Red
E: 1 cobalt oxide
F: Gloss
H: John Rodgers: a stunning solid purple ever so slightly on the lavender side. Colour and hue in the purple range can be varied by
varying the amount of cobalt.

A: Lewing Sana Green
B: Paul Lewing
C: 6
E: 24 feldspar,Custer
E: 8 calcium carbonate
E: 9.6 Colemanite
E: 6.4 strontium carbonate
E: 2.4 magnesium carbonate
E: 4 kaolin
E: 25.6 silica
E: 2.4 tin dioxide
E: 4 copper carbonate
E: 4 rutile
E: 1.6 Bentonite
F: gloss
H: Alisa Clausen: A smooth gloss, a bit brighter than pea green, sugar snap pea green. Stable, did not run or move. Greenest where
thickest, splotchy green where thinnest. One pinhole where very thick. Do not think it would be difficult to get an even layer with
correct dipping.

A: Blueberry
C: 6
E: 50 borate,Gerstley
E: 30 silica
E: 20 kaolin
E: 2.5 nickel oxide,black
E: 2.5 cobalt oxide
F: gloss
H: Alisa Clausen: glossy and semi opaque, black blue, stable glaze.

A: Greenberry
C: 6
E: 50 borate,Gerstley
E: 30 silica
E: 20 kaolin
E: 5 copper carbonate
E: 5 cobalt oxide
F: gloss
H: Alisa Clausen: very glossy almost black glaze with a blue pool in center of test bowl. On edges where thinnest, can almost make
out a green nuance. Very dark. This glaze dripped a lot where thickest.

A: Floating Red
C: 6
E: 55 borate,Gerstley
E: 30 silica
E: 22 iron oxide,red
E: 15 talc
F: gloss
H: Alisa Clausen: similar to Floating Blue with an iron coloured pool in test bowl where Floating Blue can often turn green. The glaze
moved a lot, without dripping. A lot of streaking with both iron reds and blues, dark brown over edges where thinnest.

A: Colemanite Floating Red
C: 6
E: 55 Colemanite
E: 30 silica
E: 22 iron oxide,red
E: 15 talc
F: gloss
H: Alisa Clausen: no real discernable difference in appearance from Floating Red. The G.B. version yielded more blue streaks mixed
with red, the Colemanite version more red streaks mixed with blue.

A: Colemanite Waxy White
B: Alisa Clausen
C: 6
E: 30 nepheline syenite
E: 20 Colemanite
E: 17.4 talc
E: 15 zirconia
E: 13.3 kaolin,EPK
E: 10 silica
E: 9.4 calcium carbonate
F: waxy
H: Alisa Clausen: very similar results to G.B. original, smooth, semi matt white with a nice feel, might be a bit glossier

A: Selsor Waxy Blue
B: Marcia Selsor
C: 6
E: 100 Selsor Waxy White
E: 3 rutile
E: 2 cobalt carbonate
F: waxy
H: Alisa Clausen: dark blue, with lighter streaking and some golden brown high spots, very varied colouration and same nice smooth
feel as Selsor Waxy White base.

A: Colemanite Waxy Blue
B: Alisa Clausen
C: 6
E: 100 Colemanite Waxy White
E: 3 rutile
E: 2 cobalt carbonate
F: waxy
H: Alisa Clausen: a brighter grey/teal blue than Selsor Waxy Blue where thinner, and same mottle dark blue with golden brown where
thickest. Also good feel.

A: Colemanite Cream Gloss
B: Ceramics Monthly, May 2000 replaced G.B. by Colemanite
C: 6
E: 35 feldspar,Custer
E: 30 Colemanite
E: 15 clay,Vitrox
E: 10 calcium carbonate
E: 10 silica
E: 3 rutile
E: 2 iron oxide,red
F: gloss
H: Alisa Clausen: used Cornwall stone for Vitrox. A golden brown, glossy, glaze. It pooled a lot in the center of the test bowl, but did
not drip on the outside. The pool is creamy, shiny opaque, with large floating crystals and an opalescent ring around the pool. Very
nice. In between the blue ring and the pool is a second ring of whiter, very small crystals.

A: Rosenrot Red 1
B: William Edwards with strontium replaced by barium
B: similar oxides to Jeannie Purple, Chrome Tin Base Raspberry and Chrome Tin Base Raspberry Blue
C: 6
E: 37 silica
E: 16 calcium carbonate
E: 15 frit,Ferro 3134
E: 15 nepheline syenite
E: 15 kaolin,EPK
E: 5 tin dioxide
E: 2.66 barium carbonate
E: .35 chrome oxide
F: gloss
H: Alisa Clausen: a wine red speckled glossy transparent, with a celery bluish green cast under the speckles where thickest. Stable and
very glossy.

A: Rosenrot Red 2
B: Alisa Clausen
C: 6
E: 34.4 Wollastonite
E: 20 silica
E: 15 frit,Ferro 3134
E: 15 nepheline syenite
E: 15 kaolin,EPK
E: 5 tin dioxide
E: 2.66 barium carbonate
E: .35 chrome oxide
F: gloss
H: Alisa Clausen: a very shiny clear base with a celery green cast overall. Some red speckling and wine red where thickest in throwing
rings.

A: Rosenrot Red 3
B: Alisa Clausen
C: 6
E: 34.4 Wollastonite
E: 20 silica
E: 15 frit,Ferro 3134
E: 15 nepheline syenite
E: 15 kaolin,EPK
E: 5 zinc oxide
E: 2.66 barium carbonate
E: .35 chrome oxide
F: gloss
H: Alisa Clausen: a very shiny clear base with wine red speckling, celery green cast where thickest, stable.

A: Rosenrot Red 4
B: Alisa Clausen revision of Rosenrot Red 2
B: similar oxides to Jeannie Purple, Chrome Tin Base Raspberry and Goodrich Cranberry
C: 6
E: 37 silica
E: 16 calcium carbonate
E: 15 frit,Ferro 3134
E: 15 nepheline syenite
E: 15 kaolin,EPK
E: 6 tin dioxide
E: 2 strontium carbonate
E: 0.5 chrome oxide
F: gloss
H: Alisa Clausen: smooth, shiny celadon green base with a lot of red on the edges of the thrown rings. Some red speckling on the
inside of bowl. Stable and slightly more red where thickest. Nice play of colour between the red striations on the green ground. Much
better results then revision 2. This glaze is a pseudo reduced celadon. Exciting effect for oxidation.

A: Adam Clear
B: Doug Adam
B: similar oxides to EZ Clear and Speckled Blue
C: 6
E: 48 borate,Gerstley
E: 30 silica
E: 22 kaolin
F: gloss
H: Alisa Clausen: shiny, stable.

A: Colemanite Yellow
B: Alisa Clausen revision of Adam Clear
C: 6
E: 48 Colemanite
E: 30 silica
E: 22 kaolin
F: matte
G: underfired
H: Alisa Clausen: yellow/brown, dry, underfired.

A: Randy Blue
B: similar oxides to Rita Schiavones Periwinkle, Touchstone Base and Annie Tan
C: 6
E: 31 borate,Gerstley
E: 30 silica
E: 20 feldspar,soda
E: 14 talc
E: 5 kaolin,EPK
E: 2% cobalt oxide
F: gloss
H: Alisa Clausen: a stable, dark blue gloss. It went semi matt with some light blue speckling where very thick.

A: Colemanite Randy Blue
C: 6
E: 31 Colemanite
E: 30 silica
E: 20 feldspar,soda
E: 14 talc
E: 5 kaolin,EPK
E: 2% cobalt oxide
F: semigloss
H: Alisa Clausen: almost identical results to G.B. version, more semi matt, lighter blue markings throughout glaze surface, both thick
and thin. Where thinnest, a dark blue gloss.

A: Clausen Ebony
B: Alisa Clausen
C: 6
E: 50 frit,Johnson Matthey 169
E: 50 slip,Barnard
F: gloss
H: Alisa Clausen: exciting to use only 2 ingredients, used local Oldenwalder clay for the original Barnard. Resulted in a highly glossy
brown and black glaze that moved, but did not drip. In center of test bowl, is a pool of deeply rich cognac coloured brownish red.
Pinholing where thickest. A lot of movement in the glaze surface over the lip of the test bowl. Varied greatly depending on thickness
of application from streaked brown gloss where thin, to deep, pinholed cognac colour where thickest.

A: Nelson Base
B: Marcia Selsor
C: 6
E: 64 feldspar,Custer
E: 18 calcium carbonate
E: 9 ball clay
E: 5 talc
F: gloss
H: Alisa Clausen: stable, glossy clear, milky where thickest.

A: Nelson Base Blue
C: 6
E: 100 Nelson Base
E: 2.8 cobalt carbonate
F: gloss
H: Alisa Clausen: opaque dark blue. Brown to gold spotting throughout. Stable, good, smooth feel.

A: Nelson Base Speckled Toad
C: 6
E: 100 Nelson Base
E: 8 iron oxide,red
F: gloss
H: Alisa Clausen: dark, glossy, opaque brown, with black and iron red and light spots throughout. A funny, nice glaze, good, smooth
feel. Has some light spot effects in a very dark ground not unsimilar to Wolff Plum.

A: Nelson Base Summer Toad
C: 6
E: 100 Nelson Base
E: 10 ochre
F: gloss
H: Alisa Clausen: spotted surface on a light ochre brown ground, good, smooth feel. Also funny and nice. Did not produce some of the
heavy streaking of oranges and whites some of the bases produced with 10% ochre in my trials. I prefer this more homogenized colour
ground to a lot of commotion on the surface. Darker where thinner, lighter where thicker. Good effect over throwing rings.

A: Charcoal Satin Matt
B: Ceramics Monthly September 2000 John Hesselberth and Ron Roy derived from Hansen Matte Base.
B: same oxides as Frogpond Green, similar to Frogpond Green 1
C: 6
E: 31.7 kaolin,EPK
E: 31 frit,Ferro 3124
E: 23.2 Wollastonite
E: 14 silica
E: 10 stain
E: 6 rutile
F: matte
H: Alisa Clausen: used local medium grey stain powder. Stable, matt grey with a bluish hue. Very attractive glaze with a good feel.

A: Easy White
B: Cindy Strnad
B: same oxides as Hansen 20Wx5 Base White, similar to John Post White
C: 6
E: 20 frit,Ferro 3134
E: 20 kaolin,EPK
E: 20 silica
E: 20 feldspar,Custer
E: 20 Wollastonite
E: 12 zirconia
F: gloss
H: Alisa Clausen: stable, smooth, white glaze. Good liner or gloss white.

A: Martens Matte 1
B: Lela Martens
C: 6
E: 16.8 silica
E: 56.4 calcium carbonate
E: 25.8 zinc oxide
E: 46.2 kaolin
F: matte
H: Alisa Clausen: smooth white ground with pale yellowish speckling throughout. Dry in some of the thickest areas.

A: Martens Matte 2
B: Lela Martens
C: 6
E: 56 feldspar,Custer
E: 20 calcium carbonate
E: 18 kaolin,EPK
E: 6 silica
matte
H: Alisa Clausen: Stable, silk matt white glaze. Nice feel and hard surface. Could be a nice liner.

A: Lubbock Black
C: 6-10
E: 52 feldspar,Custer
E: 20.7 Colemanite
E: 17.5 silica
E: 3.2 kaolin,EPK
E: 3.0 iron oxide,red
E: 1.5 calcium carbonate
E: 1.5 cobalt oxide
E: 1 chrome oxide
F: gloss
G: spitting
H: Alisa Clausen: Gloss black with some blue pooling in center of test bowl. Spit a halo on to shelf around test bowl.

A: Lubbock White
B: similar oxides to Robin Egg Blue
C: 6
E: 43 feldspar,soda
E: 23 Colemanite
E: 14 ball clay
E: 7 silica
E: 7 zirconia
E: 5 dolomite
F: gloss
H: Alisa Clausen: Stable, gloss white. No discernable difference where double dipped.

A: Clausen Dark Blue Gloss
B: Alisa Clausen
C: 6
E: 43 nepheline syenite
E: 22 silica
E: 18 calcium carbonate
E: 17 kaolin,EPK
E: 10 borate,Gerstley
E: 10 Colemanite
E: 1 cobalt carbonate
F: gloss
H: Alisa Clausen: Stable, blue gloss, a very nice medium to dark blue, bright in hue.

A: Tessha Brown
B: Ceramics Monthly 1991 Bold Black
C: 6
E: 40 clay,Barnard
E: 20.5 frit,Ferro 3134
E: 13.5 kaolin,EPK
E: 13 silica
E: 10 dolomite
E: 3 cobalt carbonate
E: 3 titanium dioxide
E: 2 lithium carbonate
E: 2 copper carbonate
E: 1 zinc oxide
E: 1 rutile
F: gloss
H: Alisa Clausen: used Oldenwalder clay for Barnard. Resulted in a stable, gloss, brown with green hue. More interesting around
thinner edges, with bluer cast. Not bold, not black. Has a nice smooth surface that sparkles like a tessha brown.

A: Red Gold Matte
B: Ceramics Monthly 1991
C: 6
E: 39 silica
E: 24 nepheline syenite
E: 17 iron oxide,red
E: 14 calcium carbonate
E: 11 lithium carbonate
E: 7 borate,Gerstley
E: 6 zirconia
E: 6 rutile
E: 3 magnesium carbonate
E: 2 barium carbonate
F: matte
H: Alisa Clausen: stable, silk matt rust brown with a golden sparkle on top surface. No discernable difference where double dipped.
Has a very beautiful golden shimmer to the surface. The surface is very much like Gibby Rose Tenmoku, if you know that one. Very
warm, appealing colour if you like those ochre and iron nuances.

A: Wolff Light Blue
B: Ceramics Monthly May, 2000
C: 6
E: 20 dolomite
E: 20 frit,Ferro 3134
E: 20 spodumene
E: 20 ball clay,OM-4
E: 20 silica
E: 5 tin dioxide
E: 4 rutile
E: 0.5 cobalt oxide
F: gloss
H: Alisa Clausen: CM says a speckled blue, produces a variety of blues and browns when used with Plum and Cream. A stable, gloss
bluish/grey even glaze for me. Over Wolff Plum, it did its thing as described in the Ceramics Monthly, with a lot of nice streaking and
opalescence like blues and pooling. The light blue on its own is a nice dove grey and it gives a very nice falling and streaking over the
plum.

A: Litman Red Brown
B: C. Litman
B: similar oxides to Touchstone Base Rust and Randy Red Revised
C: 6
E: 32 borate,Gerstley
E: 29 silica
E: 20 feldspar,Custer
E: 15 iron oxide,red
E: 14 talc
E: 5 kaolin,EPK
H: Alisa Clausen: A tessha like brown with black flecking and stripes in finger marks. Smooth, stable glaze with a slight pooling of
lighter brown in center of test bowl. Dry where very thick over double dipped lip. Where thickest, has a slight movement of blue/green
hues.

A: Lubbock Blue Green
C: 6
E: 42 feldspar,soda
E: 24 Colemanite
E: 14 ball clay
E: 7 silica
E: 7 zirconia
E: 5 dolomite
E: 5 cobalt oxide
E: 1 chrome oxide
F: gloss
G: spitting
H: Alisa Clausen: Dark blue to almost black, gloss. It spit all over like crazy, jumped over to a pot next to the test and left a huge halo
of blue on the shelf and on the adjacent wall. Turns out the recipe called for 0.5 cobalt, not 5!

A: Falls Creek Shino 1
B: Alisa Clausen
C: 6
E: 57 clay,Oldenwalder
E: 19 frit,Johnson Matthey 169
E: 9 silica
E: 7 lithium carbonate
E: 9 zirconia
E: 5 tin dioxide
F: gloss
H: Alisa Clausen: stable, gloss, medium brown, nothing to write home about.

A: Ball Base
B: Carlton Ball
C: 6
E: 36 feldspar,Custer
E: 17.8 calcium carbonate
E: 17.8 stone,Cornwall
E: 12.9 rutile
E: 9 ball clay
E: 6.5 zinc oxide
F: matte
H: Alisa Clausen: Stable, whitish matt with pink speckles. Painted over both iron and cobalt oxides, brought up the oxides nicely,
especially the cobalt, as it had a softer hue than cobalt under a regular gloss.

A: Frit EZ clear
B: revised EZ clear
B: similar oxides to Cone 04 Base
C: 6
E: 50 frit,Ferro 3134
E: 30 kaolin,EPK
E: 20 silica
F: gloss
H: Alisa Clausen: Resulted in same stable, clear, high gloss as recipe with 50 G.B. I tested it with Colemanite instead of G.B. and got a
very dry, underfired glaze.

A: Candle Satin Matte
C: 6
E: 42 feldspar,G-200
E: 15 kaolin,EPK
E: 19 talc
E: 9 dolomite
E: 6 silica
F: gloss
H: Alisa Clausen: Clear gloss with pool of white and blue opal in center in of test bowl. Cobalt and iron oxide washes underneath
showed from underneath glaze as they were painted.

A: Moss Black
B: Linda Moss
C: 6
E: 54 feldspar,F-4
E: 14.7 calcium carbonate
E: 11.6 silica
E: 8 iron oxide,red
E: 6 nepheline syenite
E: 6 rutile
E: 4 borate,Gerstley
E: 3.5 talc
E: 2.66 kaolin
E: 2.4 Bentonite
E: 2 zirconia
F: semigloss
H: Alisa Clausen: A very dark, black brown semi gloss, stable glaze. Good surface feel, with some lighter brown splotching
throughout. Same glaze with Frit 169 subbed for G.B. gave identical results.

A: Lubbock Honey Brown
C: 6
E: 30 spodumene
E: 20 silica
E: 14 Colemanite
E: 13 talc
E: 7 dolomite
E: 6 rutile
E: 5 kaolin,EPK
E: 3 Bentonite
E: 2 manganese dioxide
F: semigloss
G: running
H: Alisa Clausen: two tests of this glaze both produced a fluid to runny, light yellow to honey brown glaze. Pooled in the center of test
bowl to a glistening light yellowish glaze with a ring of darker browns. No signs of purple or opalescence as claimed in either test.

A: Cobbled Floating Blue
B: D. Gordon
B: similar oxides to Chappell Floating Blue and Slate Blue With Green Specks
C: 6
E: 43.26 nepheline syenite
E: 13.67 kaolin,EPK
E: 32.81 frit,Ferro 3134
E: 10.26 silica
E: 4 rutile
E: 2 Bentonite
E: 2 iron oxide,red
E: 1 cobalt oxide
F: gloss
H: Alisa Clausen: A medium brown glaze, high gloss, with green tinge throughout, and a green pool in the middle of the test bowl.
Exhibited all the worst characteristics that Floating Blue can exhibit when not fired in optimal (tricky? randomly lucky?) conditions
for the glaze. Overall dull brown with THAT green where it would be nice if it was blue. Extremely similar to the original Floating
Blue recipe with colemanite subbed for G.B.

A: Hansen Blue Brown
B: Tony Hansen Clear with colorants
C: 6
E: 36 frit,Ferro 3134
E: 35 kaolin,EPK
E: 27 Wollastonite
E: 5 silica
E: 5 rutile
E: 1 cobalt oxide
H: Alisa Clausen: a stable glaze with a myriad of variations in the surface and colour. Where thickest, surface was mattish, with a
greenish ground with almost lichen effect. Where application was dipped once, the surface is glossy, a dark brown, with light blue to
greenish flecks. Where it meets the double dipped surface, the flecking joins together to make the greenish overall ground. Iron oxide
painting underneath showed up under glaze. Inside the test bowl the surface is a dark brown with movement in the glaze causes some
blue streaking and pooling to bright cobalt blue gloss. I especially liked the merging of the matt surface to the gloss surface.

A: Clarke Simple Blue
B: Chris Clarke
B: similar oxides to Blatant Blue, Britt Blue Celadon, Behrens Stony Matte and Reduction New Blue
C: 6
E: 40 feldspar,Custer
E: 30 silica
E: 20 calcium carbonate
E: 10 kaolin
E: 2 cobalt oxide
E: 1 tin dioxide
F: gloss
H: Alisa Clausen: used titanium dioxide for tin. A stable, bright, medium blue gloss, like a Royal Blue velvet. Darker where double
dipped, covering but not opaque, with a single dip. Iron flecks showed up under glaze.

A: Ball Rust Orange
B: F. Carlton Ball
C: 6
E: 44 feldspar,potash
E: 19 Colemanite
E: 19 silica
E: 6 dolomite
E: 5 zinc oxide
E: 5 ball clay,Kentucky
E: 3.5 tin dioxide
E: 2.5 iron oxide,red
E: 2 calcium carbonate
F: gloss
H: Alisa Clausen: used local ball clay for Kentucky. A stable rust orange gloss with some lighter speckling. Nice feel on surface.

A: Roy Clear 1
B: Ron Roy
C: 6
E: 25 feldspar,G-200
E: 20 borate,Gerstley
E: 20 silica
E: 15 dolomite
E: 15 kaolin,EPK
E: 5 Wollastonite
F: semigloss
H: Alisa Clausen: clear, semi gloss, stable glaze. No discernable difference where double dipped.

A: Clausen Clear 1
B: Roy Clear 1 reformulated for frit
C: 6
E: 25 silica
E: 20 frit,Johnson Matthey 169
E: 19 dolomite
E: 6 Wollastonite
E: 4 feldspar,G-200
F: semigloss
H: Alisa Clausen: clear, semi gloss, stable glaze. Some white crystallization under lip and where glaze was thickest. Otherwise very
similar to original.

A: Hesselberth Floating Green
B: John Hesselberth
B: similar oxides to Edwards E-Z 5 Base and Martens Ultra Clear
C: 6
E: 31 silica
E: 30 nepheline syenite
E: 21 borate,Gerstley
E: 10 kaolin
E: 8 calcium carbonate
E: 2 chrome oxide
E: 1 cobalt oxide
F: gloss
H: Alisa Clausen: I use it in big batches, it is always consistent in cover and melt.

A: Chrome Tin Base
B: Clay Times Jan/Feb. 2005
B: similar oxides to Jeannie Purple and Hansen 20x5 Base
C: 6
E: 30 silica
E: 20 calcium carbonate
E: 18 nepheline syenite
E: 18 ball clay,OM-4
E: 14 frit,Ferro 3134
F: gloss

A: Chrome Tin Base Raspberry
B: Clay Times Jan/Feb. 2005
B: similar oxides to Goodrich Cranberry, Jeannie Purple, Rosenrot Red 4 and Rosenrot Red 1
C: 6
E: 100 Chrome Tin Base
E: 7.5 tin dioxide
E: 0.6 cobalt carbonate
E: 0.2 chrome oxide
F: gloss

A: Chrome Tin Base Raspberry Blue
B: similar oxides to Jeannie Purple
C: 6
E: 100 Chrome Tin Base
E: 1 cobalt carbonate
E: 0.25 iron oxide,red
F: gloss
H: Alisa Clausen: gloss blue with many variations on a smooth lush covering with streaking and movement. Thickened at bottom edge
but did not run.

A: Aventurine Brown
C: 6
E: 80 frit,Ferro 3134
E: 15 iron oxide,red
E: 10 kaolin
E: 1 Bentonite
F: gloss
G: running,pinholes
H: Alisa Clausen: a very fluid, runny dark cognac brown, with black stripping and black glossy pool in center of test bowl, interesting
effect when bowl was dipped from lip mid way down. Held well around outside surface from lip to mid way down bowl. Inside, sank
completely under inner lip, leaving a wide white band of under glaze, and then showed from midway down the bowl to a dark pool in
center. Large pinholes inside bowl many variations of colours from rusts, cognacs, medium browns to black gloss.

A: Aventurine Teadust
C: 6
E: 50 feldspar,potash
E: 15 kaolin
E: 15 calcium carbonate
E: 5 silica
E: 5 iron oxide,red
E: 5 manganese dioxide
E: 5 cobalt oxide
F: matte
H: Alisa Clausen: tested over a matt base. Fairly stable coffee brown to black, fairly matt and smooth in texture, with a lot of sparkling
in many areas. Effect is interesting, such a great contrast between matt base and the dark tea dust. Overall colour is very dark and
dense. The play comes from the smooth feel of the glaze and sparkling effect of areas.

A: Robin Egg Blue
B: similar oxides to Lubbock White
C: 6
E: 42 feldspar,soda
E: 24 Colemanite
E: 14 ball clay
E: 7 silica
E: 7 zirconia
E: 5 dolomite
E: 1 chrome oxide
E: 0.5 cobalt oxide
F: matte
H: Alisa Clausen: matt, stable, blue. Iron flecks came through glaze. The colour is close to a dark Robin egg blue. Borderline dry
surface where dipped once.

A: Butterscotch
B: Ababy Sharon revised by Ron Roy, food safe
C: 6
E: 26 ball clay
E: 25 silica
E: 25 frit,Ferro 3134
E: 12 dolomite
E: 10 feldspar,G-200
E: 9 titanium dioxide
E: 4 rutile
E: 2 lithium carbonate
F: gloss
H: Alisa Clausen: A stable yellow tan gloss glaze, with white frosting throughout. In the heaviest applied areas, frosting has a bluish
hue. Many nuances in glaze colour for a glaze with so little movement.

A: EZ Clear
B: same oxides as Adam Clear, similar to Speckled Blue, Mayan Blue and Willett Cobalt Green
C: 6
E: 48 borate,Gerstley
E: 30 silica
E: 22 kaolin,EPK
F: gloss
H: Alisa Clausen: gloss, clear, stable.

A: EZ Clear 1
B: EZ Clear reformulated by Ron Roy for frit 169
C: 6
E: 34 frit,Johnson Matthey 169
E: 12 Wollastonite
E: 24 kaolin,EPK
E: 30 silica
F: gloss
H: Alisa Clausen: gloss, clear, stable, underlying cobalt and iron wash remained stable under glaze.

A: NCECA Clear Base Soft Blue
C: 6
E: 100 NCECA Clear Base
E: 5 tin dioxide
E: 2 copper carbonate
E: 0.5 cobalt carbonate
F: gloss
H: Alisa Clausen: A very fluid, gloss glaze with colours throughout varying from greenish brown to opal blues and whites. A lot of
movement in the glaze and one big pinhole where thickest under lip. Streaking on inside of bowl led to a pool of aqua gloss in middle
of bowl. Bulging edge of glaze on foot, almost a drip. Goes more opal white where thickest.

A: Deboo Turquoise Yellow
B: J. Deboo
C: 6
E: 31 ball clay
E: 30 nepheline syenite
E: 21 silica
E: 10 frit,Ferro 3134
E: 8 calcium carbonate
E: 2 tin dioxide
E: 1 copper carbonate
F: semimatte
H: Alisa Clausen: semi matt turquoise on a yellow matt ground where thinnest. Nice surface. Might have to be applied thicker to get
more uniformity in blue colour.

A: Val Turquoise
C: 6
E: 27.60 feldspar,Custer
E: 21.30 silica
E: 16.90 borate,Gerstley
E: 8.80 calcium carbonate
E: 2.90 dolomite
E: 2.3 copper carbonate
E: 0.8 Bentonite
F: gloss
H: Alisa Clausen: A stable, smooth, bright and clear, gloss greenish turquoise glaze. Iron flecks came clearly though glaze. Slight,
slight streaking and pooling in bottom half of test bowl. Not a big colour or covering difference where double dipped. Replacing G.B.
with Colemanite produced the same results, as did replacing G.B. with a local frit.

A: Korean Crawl
C: 6
E: 60 feldspar,potash
E: 26 magnesium carbonate
E: 10 silica
E: 10 calcium carbonate
E: 7 tin dioxide
E: 4 lithium carbonate
F: matte
H: Alisa Clausen: result similar to Wilson Textured Crawl, but whiter in colour and all matt. No texture, extremely thick and covering.

A: Clarke Anthracite
B: Chris Clarke
C: 6
E: 35 feldspar,potash
E: 19 silica
E: 17 zinc oxide
E: 17 calcium carbonate
E: 12 ball clay
E: 10 iron oxide,red
E: 5 rutile
E: 1 cobalt oxide
F: semigloss
H: Alisa Clausen: very dark, smooth brown to black semi gloss, no discernable difference where dipped once or twice.

A: Martens Ultra Clear
B: Tony Martens
B: similar oxides to Edwards E-Z 5 Base and Hesselberth Floating Green
C: 6
E: 30 frit,Ferro 3134
E: 25 kaolin,EPK
E: 20 feldspar,Forshammer
E: 15 silica
E: 10 Wollastonite
F: gloss
H: Alisa Clausen: absolutely clear gloss, stable. Iron flecks showed through slightly streaking.

A: Edwards Dolomite Matte
B: William Edwards
C: 6
E: 40 frit,Ferro 3124
E: 30 kaolin,EPK
E: 20 dolomite
E: 10 silica
F: semigloss
H: Alisa Clausen: a stable semi gloss with a slightly greenish tinge throughout. Covering, although the iron flecks were visible and
slightly streaking.

A: Edwards Semigloss Base
B: William Edwards
C: 6
E: 40 frit,Ferro 3134
E: 30 kaolin
E: 20 Wollastonite
E: 10 ball clay,OM-4
E: 8 tin dioxide
F: semigloss
H: Alisa Clausen: used TWVD ball clay for OM4. A stable, white, semi gloss glaze. the edges are very orangey and toasty. The iron
flecks showed through the glaze with a lot of nice streaking and falling. Cobalt wash also showed through with indefinite borders.

A: Martens Oatmeal
B: Lela Martens
C: 6
E: 51.6 feldspar,Custer
E: 18.8 calcium carbonate
E: 15.4 kaolin
E: 10 dolomite
E: 8.6 zinc oxide
E: 5.6 silica
E: 2 rutile
E: 1.1 nickel oxide,black
F: semigloss
H: Alisa Clausen: A semi gloss to gloss, looks like two glazes over each other. There is a dolomite white ground with a brown, syrup
looking glaze over it that breaks and streaks. There are two brown gloss swells at the bottom edge of the glaze line that are almost
drips.

A: Martens Eggshell Matte
B: Lela Martens
C: 6
E: 47 feldspar,Custer
E: 19 kaolin
E: 14 calcium carbonate
E: 10 dolomite
E: 10 borate,Gerstley
F: semimatte
H: Alisa Clausen: A stable, covering, semi matt. Some areas are slightly more matt than the general surface and there are some glossy
spots where glaze is thickest. Nice feel.

A: Behrens Honey Brown
B: Richard Behrens Icy Blue Matte
C: 6
E: 52.8 feldspar,potash
E: 15.8 barium carbonate
E: 12.1 zinc oxide
E: 9.1 silica
E: 5.3 calcium carbonate
E: 4.9 kaolin
E: 3 nickel oxide,black
F: gloss
G: potentially toxic
H: Alisa Clausen: A stable, gloss, honey brown.

A: Behrens Satin Matte
B: Richard Behrens Glaze Projects
C: 6
E: 34.9 feldspar,potash
E: 25.8 zinc oxide
E: 22.6 silica
E: 12.6 calcium carbonate
E: 4.1 kaolin
F: matte
H: Alisa Clausen: A very matt, milky white, covering glaze. Resembles white sugar icing. Where extremely thick, a large drip and
bulb at the end left to fire, it ran. Otherwise it has a liquid porcelain look and feel.

A: Behrens Greenish Slip
B: Richard Behrens Glaze VII Ceramic Glazemaking
C: 6
E: 84.1 slip,Albany
E: 9.8 zinc oxide
E: 5.2 kaolin
E: 0.9 lithium carbonate
F: matte
H: Alisa Clausen: used Oldenwalder clay for Albany slip. A dry, bright matt glaze that is greenish tan in colour Where thickest, the
glaze breaks into small fractures, but not an exact crawl.

A: Behrens Barium Base
B: Richard Behrens Barium Glaze VI Glaze Projects
C: 6
E: 31.5 silica
E: 24.7 nepheline syenite
E: 21.5 barium carbonate
E: 12.4 strontium carbonate
E: 7.1 kaolin
E: 2.8 calcium carbonate
F: gloss
G: crazing,potentially toxic
H: Alisa Clausen: a bright glaze, crazed on my clay body.

A: Behrens Barium Base Green
C: 6
E: 100 Behrens Barium Base
E: 3 copper carbonate
F: gloss
G: crazing,potentially toxic
H: Alisa Clausen: a glossy medium to dark green, bright in colour. Shows signs of possible running where thickest. Crazed on my clay
body.

A: Behrens Barium Base Brown
C: 6
E: 100 Behrens Barium Base
E: 1.5 nickel oxide,black
F: gloss
G: crazing,potentially toxic
H: Alisa Clausen: a soft brown gloss that did not show any signs of movement on the tile where thickest. Crazed on my clay body.

A: Behrens Brown Slip
B: Richard Behrens Ceramic Glazemaking
B: similar oxides to Zakin Mouse Black Slip
C: 6
E: 87 slip,Albany
E: 9.8 Wollastonite
E: 3.2 frit,Hommel 14
E: 2.0 Bentonite
F: gloss
H: Alisa Clausen: used Oldenwalder clay for Albany slip. A glossy, tenmoku like glaze, with a brown ground and a lot of black
spotting and blotching. Stable on test tile, with a smooth surface.

A: Behrens Base 1
B: Richard Behrens Glaze XI Ceramic Glazemaking
C: 6
E: 39.7 feldspar,potash
E: 28.6 calcium carbonate
E: 17.9 silica
E: 13.8 kaolin
F: semigloss
H: Alisa Clausen: A satin semi gloss glaze, transparent, showed no movement on test tile in thick or thin areas.

A: Behrens Stony Matte
B: Richard Behrens Glaze 1 Ceramic Glazemaking
B: similar oxides to Blatant Blue, Britt Blue Celadon, Santerre Stable Blue, Clarke Simple Blue and Reduction New Blue
C: 6
E: 40 feldspar,potash
E: 30 silica
E: 20 calcium carbonate
E: 10 kaolin
F: matte
H: Alisa Clausen: a stony matt transparent glaze, milky in colour where thickest. Where thinner, the glaze is more glossy, completely
transparent. Looks stable on tile.

A: Behrens Base 5
B: Richard Behrens Barium Glaze V Glaze Projects
C: 6
E: 34.2 barium carbonate
E: 26.8 feldspar,potash
E: 21.7 silica
E: 9.5 kaolin
E: 7.8 zinc oxide
F: matte
G: potentially toxic

A: Behrens Base 5 Green
C: 6
E: 100 Behrens Base 5
E: 3 copper carbonate
F: matte
G: potentially toxic
H: Alisa Clausen: a green to turquoise matt glaze, with some blue streaking where thickest. Good to the touch, nice matt. Could see
signs of movement where very thick along bare margin on tile, but no running. Behrens notes that in high content Barium glazes with
2-3 copper can give a strong ultramarine colour. Could see traces of this in the thick blue streaking.

A: Behrens Base 5 Brown Blue
C: 6
E: 100 Behrens Base 5
E: 1.5 nickel oxide,black
F: matte
G: potentially toxic
H: Alisa Clausen: matt and smooth. Colour is a dark beige to brown with dark blue spotting. Where very thick, boarded pinholing, but
have an intense dark violet to black colour. Behrens notes that the addition of nickel to high barium glazes can sometimes result in a
dramatic midnight blue pooling. The blue spotting could possibly give this pool in a bowl.

A: Behrens Pearl White
B: Richard Behrens glaze XVI Ceramic Glazemaking
C: 6
E: 41.5 silica
E: 21.1 kaolin
E: 18.7 zinc oxide
E: 8.6 lithium carbonate
E: 6.2 titanium dioxide
E: 3.9 strontium carbonate
F: gloss
H: Alisa Clausen: a very lively mottled and streaking white glaze, with a pearl fluidness throughout. Although the glaze shows a lot of
movement, it did not run and is nicely understated in colour variations. Try this glaze on a wide rim of a bowl, over a more stable, matt
glaze, for an interesting contrast.

A: Behrens Reddish Brown Slip
B: Richard Behrens Glaze XVII Ceramic Glazemaking
C: 6
E: 83.1 slip,Albany
E: 10.7 lithium carbonate
E: 6.2 rutile
E: 2 Bentonite
F: matte
H: Alisa Clausen: used Oldenwalder clay for Albany slip. A brown colour more pleasing than chocolate, rather a reddish brown. A
satin matt surface, more matte where thinner. No movement in glaze.

A: Behrens Titanium White
B: Richard Behrens Titanium Glaze V Glaze Projects
C: 6
E: 41.3 feldspar,potash
E: 26.9 silica
E: 14.9 calcium carbonate
E: 12.0 zinc oxide
E: 5.0 titanium dioxide
E: 4.9 kaolin
F: gloss
H: Alisa Clausen: a gloss surface with a very hard white on top of a dark beige ground. Breaks very nicely over texture, giving a lot of
play between the white and the darker ground. Looks a bit fuzzy or hare-like in surface. Smooth surface.

A: Behrens Barium Matte
B: Richard Behrens Glaze IV Ceramic Glazemaking
C: 7
E: 33.2 silica
E: 29.2 nepheline syenite
E: 13 barium carbonate
E: 13 calcium carbonate
E: 4.8 strontium carbonate
E: 4.2 kaolin
E: 1.3 zinc oxide
E: 1.3 magnesium carbonate
F: matte
G: potentially toxic
H: Alisa Clausen: underfired at cone 6. At cone 7, a stony, flat matt white that has a nice surface texture, although no crackle to be
seen by the eye.

A: Behrens High Magnesia
B: Behrens Ceramic Glazemaking
C: 6
E: 54.5 spodumene
E: 45.5 talc
F: semimatte
H: Alisa Clausen: a dense, stony, light brown with a pale yellowish ground glaze. This could be something for large sculptural pieces,
as it shows texture through and clings very closely to the clay body with a truly earthy and neutral colour. Slightly rough surface.

A: Edwards Red
B: William Edwards Red #3
B: similar oxides to Wine Red, Rodgers Wine Purple and Chrome Tin Red-Green
C: 6
E: 26 silica
E: 24 frit,Ferro 3134
E: 20 calcium carbonate
E: 16 kaolin,EPK
E: 10 nepheline syenite
E: 5 tin dioxide
E: 2.5 talc
E: 1.5 feldspar,G-200
E: 0.35 chrome oxide
F: gloss
H: Alisa Clausen: A smooth gloss glaze, with an underlying grey to pink fluid colours under gloss shell. Some signs of burgundy
where thickest at top of tile. Stayed where dipped and no discernable difference where thicker. I believe, like the Rosenrot, I should let
this glaze soak longer before using to get the deep burgundy. However, it is quite understated and nice on this test.

A: Goodrich Cranberry
B: Don Goodrich
B: similar oxides to Chrome Tin Base Raspberry, Jeannie Purple and Rosenrot Red 4
C: 6
E: 36.5 silica
E: 25 nepheline syenite
E: 18.5 calcium carbonate
E: 10.5 borate,Gerstley
E: 9.5 kaolin,EPK
E: 7.5 tin dioxide
E: 0.325 chrome oxide
F: gloss
H: Alisa Clausen: A hazy pink gloss. No difference where double dipped. Iron flecks came through and glaze stayed where applied.
Adding 10 alumina hydrate matted it with a slightly dry texture.

A: Hamer Matte Brown
B: Hamer Lime matt orange-brown
C: 6
D: hold 1 hour at 900C
E: 46 stone,Cornwall
E: 28 calcium carbonate
E: 14 kaolin
E: 7 iron oxide,red
E: 5 tin dioxide
F: matte
H: Alisa Clausen: a mat brown glaze, with greenish black where thickest in lowest areas textured patterns. Stayed where applied and
has a good feel. Despite lower firing temperature than suggested, glaze is well melted and has a very flat, smooth surface.

A: Tyler Amber Slip
B: Richard Zakin
C: 6
E: 80 slip,Albany
E: 10 borate,Gerstley
E: 10 nepheline syenite
F: semigloss
H: Alisa Clausen: used Oldenwalder Clay for Albany Slip. A shiny matt rust brown glaze. Light orange where thin, dark sienna brown
where thickest. Stayed where applied.

A: Cooper Barium Pink Blue
B: Emmanuel Cooper, Hamer and Hamer, page 401
C: 6
D: soak at 900C for one hour
E: 40 barium carbonate
E: 35 feldspar,Forshammer
E: 15 zinc oxide
E: 5 kaolin
E: 5 silica
E: 2 nickel oxide,black
F: matte
G: potentially toxic
H: Alisa Clausen: an example of the blues, pinks and greens that Emmanuel Cooper says are possible with a glaze mix that has 1-3%
nickel, 20-50% barium carbonate and 10% zinc oxide. A never by me seen before tan matt with medium blue and moss green
speckling where once dipped, and a tan ground with larger pink, almost fuschia, pooling and speckling where double dipped. The
overall surface is flat and matt, and the pink speckling looks lichen like. Although this glaze is so high in barium, I would like to see it
on a bigger, textured pot. Stayed where it was applied.

A: Sharon Cobalt Blue
B: Ababi Sharon
B: same oxides as Violet Semigloss
C: 6
E: 41.4 nepheline syenite
E: 27 quartz
E: 11.7 dolomite
E: 10 borate,Gerstley
E: 5.4 magnesium carbonate
E: 4.5 calcium carbonate
E: 1 cobalt oxide
F: gloss
H: Alisa Clausen: Cobalt blue gloss.

A: Zakin Soft Tan Matte
B: Richard Zakin
C: 6
D: soak at 900C for one hour
E: 40 feldspar,soda
E: 22 zirconia
E: 14 dolomite
E: 14 spodumene
E: 10 ball clay
F: matte
H: Alisa Clausen: A smooth, Dolomite off-white matt. Nice surface.

A: Clarke Strontium Matte Base
B: Chris Clarke
C: 6
D: soak at 900C for one hour
E: 60 nepheline syenite
E: 20 strontium carbonate
E: 10 ball clay
E: 9 silica
E: 1 lithium carbonate
F: matte
H: Alisa Clausen: good base for textured work

A: Clarke Strontium Matte Base Bronze
B: similar oxides to Pinnell Weathered Bronze
C: 6
D: soak at 900C for one hour
E: 100 Clarke Strontium Matte Base
E: 5 titanium dioxide
E: 5 copper carbonate
F: matte
H: Alisa Clausen: a thick, matt patina green glaze, with movement and some black streaking. Looks like patinad bronze as Chris
suggests. Paint or dip thickly for strongest greens, otherwise it is browner. Stays where applied and opaque.

A: Clarke Strontium Matte Base Blue Green
C: 6
D: soak at 900C for one hour
E: 100 Clarke Strontium Matte Base
E: 4 rutile
E: 4 cobalt carbonate
E: 2 chrome oxide
F: matte
H: Alisa Clausen: a matt Blue and Green glaze. This glaze is interesting because it is not blue/green like a teal, it changes from blue to
green on the surface. Very subtle changes and a smooth matt surface.

A: Clarke Strontium Matte Base Graphite
C: 6
D: soak at 900C for one hour
E: 100 Clarke Strontium Matte Base
E: 8 copper carbonate
F: matte
H: Alisa Clausen: a dark grey matt where thickest, breaking a bit greener where thinner. Also a smooth surface with subtle colour
changes from grey to green grey.

A: Debrue Bronze
B: Mike Debrue
C: 6
E: 50 slip,Albany
E: 35 manganese dioxide
E: 15 copper oxide,black
E: 10 alumina hydrate
F: matte
H: Alisa Clausen: used Oldenwalder clay for Albany slip. A dark brown to black iron glaze with crystals typical of iron oversaturation.
Matt where thinner, crystalized and porous looking where thickest. Some movement in surface and could run.

A: Zirconia 50/50 Slip
B: Stephanie
C: 6
E: 50 borax
E: 50 zirconia
F: rough
G: splitting
H: Alisa Clausen: a soft looking, but hard as stone rough, textured but smooth to touch surface. This slip is very interesting, because
you can paint it on and then, if you choose to brush some off or scratch into it, the slip holds your markings. It can be applied very
thickly and I got some splitting in the surface, but is very well attached to pot. Looks rocky and porous where thickest and whiter and
more translucent where thinnest. I cannot describe all the variables and nuances of this slip. It is very exciting and gives a subtle but
screaming gorgeous surface over my orange clay body. It colours well and it is possible to colour with stains and paints after the
firings. It is porous in some areas where really thick and I am sure very receptive to that sort of after firing handling. Where it came in
contact with ToDo white matt, it fused well to give yet another surface, a matt, smooth hard surface. Excellent with colorants that are
fluxes. Cobalt gave it a slightly more melted surface, with a grey and blue colour, good feel, handsome, understated blue. Stains fire
more or less to the same colour they are in the slurry, but dry as the original surface.

A: Tenmoku Gold 2
B: same oxides as Red Brown Tenmoku
C: 6
D: soak at 900C for one hour
E: 59.8 stone,Cornwall
E: 9.8 iron oxide,red
E: 7.8 calcium carbonate
E: 6.9 dolomite
E: 5.4 silica
E: 5.4 lithium carbonate
E: 2.9 frit,Ferro 3134
E: 2.0 kaolin,EPK
F: matte
H: Alisa Clausen: used frit 623 for frit 3134. A semi mat tenmoku glaze. Stayed where applied. The glaze is matter and browner where
applied very thick. Where it is dipped once, it is a semi mat, lively black and brown glaze.

A: Barringer Super Dry Matte
B: Ceramics Monthly April, 2001
C: 6
D: soak at 900C for one hour
E: 60 nepheline syenite
E: 15 strontium carbonate
E: 8 kaolin,calcined
E: 6 silica
E: 6 lithium carbonate
E: 5 borate,Gerstley
F: matte
H: Alisa Clausen: a white mat glaze. Where very thick, it had grey, glassy streaking. Smooth surface. Iron spots from glaze visible in
glaze. Swelled but did not run on bottom edge of test.

A: Barringer Metallic Black
B: Ceramics Monthly April 2001
B: same oxides as Black Gloss, similar to Frogpond Metallic Black, Black Semigloss and Reed Glory Black
C: 6
E: 78.86 feldspar,potash
E: 10.75 borate,Gerstley
E: 5.48 calcium carbonate
E: 4.91 kaolin
E: 4.14 copper carbonate
E: 4.14 manganese dioxide
E: 2.07 cobalt oxide
F: metallic
H: Alisa Clausen: a thick and covering metallic black. The truest black grey metallic black I have tried. Very good covering and
smooth surface. Has blue iridescent spots (oil spots).

A: Barringer Yellow Oxide
B: similar oxides to Yellow Oxide
C: 6
D: soak at 900c for one hour
E: 31.52 kaolin
E: 28.26 frit,Ferro 3110
E: 18.48 zinc oxide
E: 17.39 silica
E: 4.35 tin dioxide
E: 4.35 lithium carbonate
E: 4.35 iron oxide,red
E: 0.54 ochre
E: 0.44 copper carbonate
F: semimatte
H: Alisa Clausen: used Frit 623 for 3110. A smooth semi matt that stayed where applied. There is a lot of movement and streaking in
the surface. Base colour of glaze is a dark mustard yellow with a lot of brown and rust streaking.

A: Barringer Slip
B: Ceramics Monthly April 2001 Mary Barringer RC slip
C: 6
D: soak at 900C for one hour
E: 40 clay,Redart
E: 30 calcium carbonate
E: 20 feldspar,F-4
E: 10 silica
F: matte
H: Alisa Clausen: A flat, dry slip with a toasty colour overall.

A: Barringer Glassy Slip
B: Ceramics Monthly, April 2001
C: 6
E: 80 lithium carbonate
E: 15 Bentonite
E: 5 borate,Gerstley
F: semigloss
G: very high expansion, may have crazing or adhesion problems
H: Alisa Clausen: a glassy white slip, white semi mat where thinner, greenish brown and glassy where thick.

A: Barringer White Slip
B: Ceramics Monthly April 2001 Barringer Dense White Engobe
C: 6
D: soak at 900C for one hour
E: 40 zirconia
E: 30 ball clay
E: 20 nepheline syenite
E: 10 frit,Ferro 3110
E: 2 Bentonite
F: matte
G: underfired
H: Alisa Clausen: used frit 623 for Frit 3110. A dry white slip.

A: Barringer Redart Slip
B: Ceramics Monthly April 2001
C: 6
E: 80 clay,Redart
E: 10 lithium carbonate
E: 10 spodumene
E: 2 iron oxide,red
F: cratered
H: Alisa Clausen: used Oldenwalder clay for Redart. A bubbling iron red slip with craters throughout.

A: Barringer Burlington Base
B: Ceramics Monthly April 2001
C: 6
D: soak at 900C for one hour
E: 25.43 ball clay
E: 22.38 slip,Albany
E: 20.35 feldspar,soda
E: 20.3 lithium carbonate
E: 12.21 calcium carbonate
E: 12.21 zirconia
E: 5.39 strontium carbonate
F: matte
H: Alisa Clausen: A dry, mat, light grey glaze.

A: Barringer Sheen-O
B: Ceramics Monthly April 2001
B: same oxides as Reduction Shino
C: 6
E: 54.5 nepheline syenite
E: 22.8 spodumene
E: 14.9 ball clay
E: 4.9 borate,Gerstley
E: 2.9 ash,soda
E: 0.5 chrome oxide
F: gloss
G: crazing
H: Alisa Clausen: a light orangey and white shino looking glaze, glossy but not glassy. Crazed on my clay body.

A: Edwards E-Z 5 Base
B: William Edwards
B: similar oxides to Martens Ultra Clear and Hesselberth Floating Green
C: 6
E: 30 frit,Ferro 3134
E: 25 feldspar,G-200
E: 20 kaolin,EPK
E: 14 silica
E: 10 Wollastonite
F: gloss
H: Alisa Clausen: used Frit 623 for Frit 3134, Forshammer feldspar for G-200. Clear gloss glaze

A: Edwards E-Z 5 Base Black Majick
C: 6
E: 100 Edwards E-Z 5 Base
E: 10.5 iron oxide,red
E: 2.5 cobalt carbonate
F: gloss
H: Alisa Clausen: a glossy black glaze, semi mat where thinner, glossy where thick.

A: Edwards E-Z 5 Base White Majick
C: 6
E: 100 Edwards E-Z 5 Base
E: 8 tin dioxide
F: gloss
H: Alisa Clausen: a white glossy glaze, that broke clear over the texture on test.

A: Edwards E-Z 5 Base Blue Monkey
C: 6
E: 100 Edwards E-Z 5 Base
E: 3 cobalt oxide
E: 3 rutile
F: gloss
H: Alisa Clausen: glossy bluish glaze with green and black variations overall. Where thickest, glaze is green like a thick and overfired
floating blue, but green is a pleasant green. A lot of colour play in surface. Some high spots of bright blue.

A: Cast Iron
C: 6
E: 50 frit,Ferro 3134
E: 25 kaolin,EPK
E: 25 silica
E: 25 iron oxide,red
E: 5 rutile
G: bubbling
H: Alisa Clausen: used frit 623 for 3134. A dark brown iron glaze with some bubbling and iron crystallization seen typically with iron
oversaturation.

A: Golden Fake Ash
B: similar oxides to Sharon Golden Ash
C: 6
E: 28 clay,Redart
E: 25 dolomite
E: 21 ball clay,OM-4
E: 10 borate,Gerstley
E: 9 strontium carbonate
E: 5 ash,bone
E: 2 lithium carbonate
F: semigloss
H: Alisa Clausen: used local ball clay for OM4. A dry, mattish light brown glaze with some gloss where thickest.

A: Zinc 50/50
C: 6
E: 50 borax
E: 50 zinc oxide
F: matte
H: Alisa Clausen: a smooth, hard, semi mat glaze. Base colour is white, with some yellow spotting. Coloured with ochre resulted in
same with more of a yellow colour.

A: Ball Clay 50/50 Slip
C: 6
E: 50 borax
E: 50 ball clay
F: matte
H: Alisa Clausen: a dry slip, with small pebbling in surface. Raw white colour with some orange. Coloured with ochre resulted in the
same with a dark orange colour.

A: Clay 50/50 Slip
C: 6
E: 50 borax
E: 50 kaolin
F: matte
H: Alisa Clausen: a super dry slip with a hard and rough surface. Raw white in colour. Coloured with ochre resulted in the same but
with a very orange and toasty colour.

A: Tin 50/50 Slip
C: 6
E: 50 borax
E: 50 tin dioxide
F: matte
H: Alisa Clausen: very similar to Clay 50/50 Slip, but deep richer in colour. Surface is smoother.

A: Magnesia 50/50 Slip
C: 6
E: 50 borax
E: 50 magnesium carbonate
F: matte
H: Alisa Clausen: a dry glaze with surface that has a sparkle where thicker. Some small bubbling where very thickly applied. Base
colour is raw white with toasty nuances. Coloured with ochre resulted in similar to the above but overall toasty brown.

A: Dolomite 50/50 Slip
C: 6
E: 50 borax
E: 50 dolomite
F: matte
H: Alisa Clausen: a dry slip that is raw white and toasty in colour. Coloured with ochre resulted in a dark toasty brown semi mat.

A: Calcium carbonate 50/50 Slip
C: 6
E: 50 borax
E: 50 calcium carbonate
F: matte
H: Alisa Clausen: a very dry slip toasty in colour. Coloured with ochre resulted in similar to Dolomite 50/50 Slip but darker in colour.

A: Titania 50/50 Slip
C: 6
E: 50 borax
E: 50 titanium dioxide
F: matte
H: Alisa Clausen: a dry slip that is pebbly and smooth. Base colour is raw white with toasty nuances. Coloured with rutile resulted in
same but darker overall.

A: Iron Slip
C: 6
E: 50 ball clay
E: 25 borax
E: 25 iron oxide,red
F: matte
H: Alisa Clausen: a dry, oversaturated iron brown slip. Very dry with some pebbling where very thick.

A: Wilson Borax Slip
B: Lana Wilson
C: 6
E: 57 kaolin
E: 29 silica
E: 14 borax
F: matte
H: Alisa Clausen: a mat, dry, white slip.

A: Clausen Snowflake
B: Chris Clarke Snowflake, revised
C: 6
E: 35 feldspar,Forshammer
E: 20 Wollastonite
E: 17 zinc oxide
E: 16 silica
E: 12 ball clay
E: 3 copper carbonate
E: 2 rutile
E: 1 zirconia
F: gloss
H: Alisa Clausen: Streaking and movement in a gloss surface. Pools to attractive medium, bright blue. Stayed where glazed.

A: Peacock Blue 1
B: Peacock Blue revised by Alisa Clausen
C: 6
E: 40 feldspar,Feldshammer
E: 18 Wollastonite
E: 15 ball clay
E: 15 zinc oxide
E: 12 silica
E: 10 titanium dioxide
E: 1 cobalt oxide
E: 1 copper oxide,black
F: gloss
H: Alisa Clausen: same greenish brown background as Peacock Blue. However, this version produced pools of light blue instead of the
originals deeper blues. Much more contrast in the greens, blues and browns. On a slightly textured surface looks very much like its
name. Glaze stayed where dipped. Glossier surface than original semi matt.

A: Peacock Blue
C: 6
E: 40 feldspar,potash
E: 20 silica
E: 15 ball clay
E: 15 calcium carbonate
E: 15 zinc oxide
E: 10 titanium dioxide
E: 1 copper oxide,black
E: 0.75 cobalt oxide
F: semimatte
H: Alisa Clausen: greenish brown background with pools of deep blue.

A: Bailey Orange
B: Mike Bailey
B: similar oxides to Penland Red Orange and Bailey Red Orange
C: 6
E: 46.7 feldspar,potash
E: 16.9 talc
E: 15 ash,bone
E: 11.4 silica
E: 10 iron oxide,red
E: 4 kaolin
E: 4 lithium carbonate
E: 2 Bentonite
F: gloss
H: Alisa Clausen: Gloss surface glaze that covered well. No discernable difference where dipped twice. It is a rich, medium brown
with very vivid orange streaking throughout. Surface is fluid but not runny. The oranges are very bright. With 10 ochre, same base
colour, but no orange streaking. Instead the glaze has a creamy yellow cast where thickest.

A: ToDo Slip
B: Alisa Clausen derived from ToDo White
C: 6
E: 50 nepheline syenite
E: 25 kaolin
E: 19 ball clay
E: 12 zirconia
E: 6 Wollastonite
F: matte
H: Alisa Clausen: a very dry white glaze or a white slip with additives.

A: Clausen Simple Blue
B: Clarke Simple Blue revised
C: 6
E: 38 feldspar,Forshammer
E: 29 silica
E: 23 Wollastonite
E: 10 kaolin
E: 2 cobalt oxide
E: 1 tin dioxide
F: gloss
H: Alisa Clausen: a shiny but not glassy, cobalt blue glaze, medium blue in colour and even covering. Stayed where glazed. Slightly
darker and slightly less glossy than original recipe.

A: Black Friday
B: Jeff Zamek
C: 6
E: 20 nepheline syenite
E: 15 calcium carbonate
E: 18 kaolin,EPK
E: 20 frit,Ferro 3134
E: 17 silica
E: 10 ash,bone
E: 12 stain
F: semimatte
H: Alisa Clausen: Jeff used Mason 6600 stain. Semi matt black glaze. Stayed where put and no discernable difference where double
dipped. Very smooth surface.

A: Hansen 20Wx5 Base Cream Orange Green
B: colorants from Karen Starshine Aqua
C: 6
E: 100 Hansen 20Wx5 Base
E: 4 rutile
E: 5 copper carbonate
F: gloss
H: Alisa Clausen: fluid but not runny, cream coloured base with streaking of orange and greenish hues. Could be a good over glaze.
Gloss surface. Pooled cream and went transparent over high parts of texture. Orange speckling is interesting.

A: Hansen 20Wx5 Base Metallic Black
B: colorants from M.B. Metallic Black
C: 6
E: 100 Hansen 20Wx5 Base
E: 4 copper carbonate
E: 4 manganese dioxide
E: 2 cobalt oxide
F: metallic
H: Alisa Clausen: metallic black surface, but not as dense as original glaze. No movement. A good black.

A: Hansen 20Wx5 Base Cobalt Blue
C: 6
E: 100 Hansen 20Wx5 Base
E: 3 cobalt carbonate
E: 2 rutile
E: 1 zirconia
F: gloss
G: runs
H: Alisa Clausen: very glossy cobalt blue, runny. No good.

A: Hansen 20Wx5 Base Bottle Green
C: 6
E: 100 Hansen 20Wx5 Base
E: 3 copper carbonate
F: gloss
H: Alisa Clausen: light green, glassy, gloss. Moved, but did not run. Looks like it could. Bottle glass green.

A: Hansen 20Wx5 Base Green Brown Streaks
C: 6
E: 100 Hansen 20Wx5 Base
E: 5 copper carbonate
E: 4 rutile
F: gloss
G: crazing
H: Alisa Clausen: streaky, fluid. slightly runny gloss, with green and brownish streaks. Some cream mottling in overall background
colour. Crazed where very, very thick.

A: Hansen 20Wx5 Base Greenish Brown
B: colorants from Chris Wolffs Cream Gloss
C: 6
E: 100 Hansen 20Wx5 Base
E: 3 rutile
E: 2 iron oxide,red
F: semimatte
H: Alisa Clausen: semi matt surface, with brown ground. Thickest areas creamy and also greenish brown. A nice surface. with
movement, but stayed where put.

A: Hansen 20Wx5 Base Greenish Black
B: colorants from Shiny Soft Green with Pink Specs
C: 6
E: 100 Hansen 20Wx5 Base
E: 6 zinc oxide
E: 3 copper carbonate
F: semimatte
H: Alisa Clausen: a semi matt hard surface with an overall greyish black ground. Green streaking and pooling. The edges of the
streaking are fuzzy and undefined. Has a slightly metallic look. A patina like glaze that is not dry like Pete Pinnels great bronze glaze,
but instead has a smooth, waxy feel.

A: Zakin Mouse Black Slip
B: Richard Zakin
B: similar oxides to Behrens Brown Slip
C: 6
E: 85 slip,Albany
E: 10 Wollastonite
E: 5 nepheline syenite
F: semimatte
H: Alisa Clausen: used Oldenwalder clay for Albany slip. Semi matt, super smooth surface. Very dense black glaze. No movement.
Very opaque.

A: Rosie Rust Brown
B: Rosie Red
B: similar oxides to Litman Red Brown and Randy Red Revised
C: 6
E: 31.7 borate,Gerstley
E: 29.7 silica
E: 19.8 feldspar,F-4
E: 15 iron oxide,red
E: 13.9 talc
E: 5.0 kaolin
F: gloss
H: Alisa Clausen: Dark brown gloss with rust coloured spots where glaze lay lowest and thickest. Black gloss where glaze went over
high spots and where thinnest. Will re-fire in bisque to see if it goes redder.

A: Render Satin Matte
B: Heino Render
B: similar oxides to Stonehenge Blue
C: 6
D: cool 100C per hour to 900C
E: 30 feldspar,potash
E: 20 nepheline syenite
E: 17 calcium carbonate
E: 14 kaolin
E: 9 zinc oxide
E: 5 silica
E: 4 borate,Gerstley
E: 4 rutile
E: 2 Bentonite
F: matte
H: Alisa Clausen: Covering white satin matt, with yellow running streaks throughout. Pooled slightly at bottom of tile with a yellow
glassy glaze. Burgundy stain, cobalt oxide and RIO stripes all showed through the base with very soft edges. The cobalt turned green
where very saturated in the middle of the stripe. Over the both the cobalt and RIO, the streaking of this glaze is very apparent. It pulled
a lot of the oxide stripes right down to the bottom of the test tile.

A: Purple Mauve Pink
B: Ababi Sharon
C: 6
E: 30 kaolin
E: 29 feldspar,Custer
E: 18 calcium carbonate
E: 12 silica
E: 11 frit,Ferro 3134
E: 7.5 tin dioxide
E: 0.32 chrome oxide
F: semimatte
H: Alisa Clausen: Semi matt light, burgundy pink, with glossy areas where thicker. A covering glaze where the iron spots came
through the glaze noticeably, speckled but not blotchy.

A: Purple Mauve Pink 1
B: modified Purple Mauve Pink
C: 6
E: 30 kaolin
E: 29 feldspar,Custer
E: 18 borax
E: 12 silica
E: 11 frit,Ferro 3134
E: 7.5 tin dioxide
E: 0.32 chrome oxide
F: semimatte
H: Alisa Clausen: A glossier glaze than Purple Mauve Pink, with a distinctly celedon green ground, with very dark burgundy red areas
where thickest.

A: Chappell Clear Semigloss
B: similar oxides to Alfred White
C: 6
E: 45.7 feldspar,F-4
E: 15.2 silica
E: 12.9 borate,Gerstley
E: 12.7 talc
E: 9 dolomite
E: 4.5 kaolin,EPK
E: 1 Bentonite
F: semigloss
H: Alisa Clausen: Clear semi gloss. Lines of burgundy stain, RIO and cobalt oxide all came well through the glaze, with stable edges.
Has a satiny feel.

A: Broken Blue
B: www.frogpondpottery.com
B: similar oxides to Mayan Blue
C: 6
E: 50 borate,Gerstley
E: 35 silica
E: 15 kaolin,EPK
E: 3 copper carbonate
E: 1.5 cobalt carbonate
E: 1 rutile
F: gloss
H: Alisa Clausen: a well covering medium to dark blue gloss glaze. Has a very nice fuzzy or hazy texture under the surface of the
gloss. Where thicker, it fuzzes up more under the surface to give entire areas of breaking lighter blues. A lot of changing nuances over
the entire surface. Stayed where glazed.

A: Red Brown Tenmoku
B: www.frogpondpottery.com
B: similar oxides to Tenmoku Gold 2 and Tenmoku Gold
C: 6
E: 61 stone,Cornwall
E: 10 iron oxide,red
E: 8 calcium carbonate
E: 7 dolomite
E: 5.5 lithium carbonate
E: 5.5 silica
E: 3 borate,Gerstley
F: matte
H: Alisa Clausen: a red brown tenmoku glaze. Is lighter and brighter than Gibby Rose Tenmoku. Has some lighter yellowish streaking
with black spotting where thickest. Stayed where glazed.

A: Gibby Wild Rose Persimmon
B: www.frogpondpottery.com
B: similar oxides to MacMillian Wild Rose Tenmoku
C: 6
E: 61.5 nepheline syenite
E: 17.5 kaolin,EPK
E: 10.5 lithium carbonate
E: 10.5 ash,bone
E: 10.5 iron oxide,red
F: gloss
H: Alisa Clausen: a red brown gloss glaze, redder where thickest.

A: Xavier Warm Jade Green 1
B: www.Frogpondpottery.com revision by Ron Roy
C: 6
E: 22 feldspar,Custer
E: 21 silica
E: 20 kaolin,EPK
E: 16 frit,Ferro 3134
E: 12 calcium carbonate
E: 9 talc
E: 5 rutile
E: 1 copper carbonate
F: gloss
H: Alisa Clausen: A fluid but not dripping, glossy light jade green glaze that is transparent. Where thickest, the glaze moved and
streaked with lighter a celedon like green. A single whitish streak where very thick.
H: John Hesselberth: an extremely stable glaze, should be excellent for functional or decorative work.

A: Roy Black 3
B: Ron Roy
C: 6
E: 26 frit,Ferro 3134
E: 26 silica
E: 22 feldspar,Custer
E: 17 kaolin,EPK
E: 9 iron oxide,red
E: 5 talc
E: 4 calcium carbonate
E: 2 Bentonite
E: 2 cobalt carbonate
F: gloss
H: Alisa Clausen: Very smooth and glossy black glaze.

A: Roy Black 2
B: Ron Roy
C: 6
E: 27 silica
E: 26 frit,Ferro 3134
E: 21 feldspar,F-4
E: 17 kaolin,EPK
E: 9 iron oxide,red
E: 6 calcium carbonate
E: 3 talc
E: 1 cobalt carbonate
F: gloss
H: Alisa Clausen: A very glossy black, but slightly more lush and covering than Roy Black 3. Where it pooled in the crevices of the
tiles it has a very tiny bluish streaks.

A: Roy Black 1
B: Ceramics Monthly, Oct. 2003
C: 6
D: cool maximum rate to 800C hold 1 hour
E: 27 silica
E: 26 frit,Ferro 3134
E: 21 feldspar,F-4
E: 17 kaolin,EPK
E: 9 iron oxide,red
E: 6 calcium carbonate
E: 3 talc
E: 1 cobalt carbonate
F: gloss
H: Alisa Clausen: gloss black, breaks dark brown, very black where thick and shows no pooling of blue, brown or other. Very slight,
small iron brown crystals in a small area of test tile.

A: Frogpond Grey Green Matte
B: www.frogpondpottery.com
C: 6
E: 40.5 feldspar,Custer
E: 20 talc
E: 14.8 calcium carbonate
E: 12.4 borate,Gerstley
E: 12.3 kaolin,EPK
E: 7.9 zirconia
E: 4.8 copper carbonate
E: 1.2 Bentonite
F: matte
H: Alisa Clausen: A grayish green mat, with a well covering surface. Where very, very thick in the crevices of the tile, it dripped.
Otherwise it looks like a light olive green mat glaze that stayed above the line where it was dipped on the tile. This glaze is very mat
but not dry.

A: Frogpond Copper Green
B: www.frogpondpottery.com
C: 6
E: 33 silica
E: 28 feldspar,Custer
E: 19 calcium carbonate
E: 13 ball clay
E: 7 frit,Ferro 3195
E: 4.5 copper carbonate
F: semimatte
H: Alisa Clausen: A semi matt glaze that is well covering and stayed where glazed. A fine copper green colour, with a smooth surface.
A glaze I would like to test on larger ware.

A: Cream Breaking Red 1
C: 6
D: cool 100C per hour to 900C
E: 35 borate,Gerstley
E: 13 tin dioxide
E: 15 feldspar,Forshammer
E: 10 calcium carbonate
E: 10 silica
E: 5 barium carbonate
E: 2 iron oxide,red
F: semigloss
H: Alisa Clausen: a creamy white semi gloss glaze with small, very tight crystals throughout. It breaks red, just like the name. It is a
pinkish red, and in some areas a very pale rust red. Smooth surface and stayed where glazed.

A: Cream Breaking Red 2
C: 6
D: cool 100C per hour to 900C
E: 35 borate,Gerstley
E: 13 tin dioxide
E: 15 feldspar,Forshammer
E: 10 calcium carbonate
E: 10 silica
E: 5 strontium carbonate
E: 2 iron oxide,red
F: semigloss
H: Alisa Clausen: Very similar to Cream Breaking Red 1 in surface, but overall background colour is slightly more yellowish than
whitish cream.

A: Cream Breaking Red 3
C: 6
D: cool 100C per hour to 900C
E: 35 frit,Johnson Matthey 623
E: 13 tin dioxide
E: 15 feldspar,Forshammer
E: 10 calcium carbonate
E: 10 silica
E: 5 barium carbonate
E: 2 iron oxide,red
F: semigloss
H: Alisa Clausen: very similar to Cream Breaking Red 1, except it ran where very thick at one edge of test tile. Small tight crystal
formation very attractive. Has a surface like curdled milk, but very smooth. More ground between the tiny crystals, giving a slightly
grayer tone to overall glaze colour. CBR 1 had more red breaking than this tile.

A: Cream Breaking Red 4
C: 6
D: cool 100C per hour to 900C
E: 35 frit,Johnson Matthey 623
E: 13 tin dioxide
E: 15 feldspar,Forshammer
E: 10 calcium carbonate
E: 10 silica
E: 5 strontium carbonate
E: 2 iron oxide,red
F: semigloss
H: Alisa Clausen: a well covering cream white semi gloss glaze, with small tight crystals throughout. No red breaking on this tile and a
single drip where very thick on one edge of tile. Similar to CBR 3.

A: Frogpond Sapphire Blue
B: www.frogpondpottery.com
B: similar oxides to Sapphire Blue
C: 6
E: 42.6 frit,Ferro 3134
E: 25.5 kaolin,EPK
E: 25.5 feldspar,Custer
E: 15 silica
E: 4.3 rutile
E: 2.1 cobalt oxide
F: gloss
H: Alisa Clausen: Well covering light blue gloss, breaking darker blue with slightly greenish cast. A lot of movement in glaze, but
stayed where glazed. The thickest areas are light to medium cornflower blue and the thinnest areas are dark greenish in colour.

A: Clausen Glittering Brown
B: Alisa Clausen
C: 6
E: 55 frit,Johnson Matthey 169
E: 30 silica
E: 22 iron oxide,red
E: 15 talc
F: gloss
H: Alisa Clausen: a very glittery brown glaze that looks like fools gold in natural light. I have not often seen such a sparkle in a glaze
surface. It has a dark background surface with a copper sparkle. Looks like a Disney version of Tenmoku.

A: Deboos Teal Blue
B: Jane Deboos
C: 6
E: 35 nepheline syenite
E: 30 silica
E: 18 calcium carbonate
E: 12 frit,Ferro 3134
E: 8 tin dioxide
E: 5 ball clay,OM-4
E: 4 copper carbonate
F: gloss
H: Alisa Clausen: used local ball clay for OM4. A well covering gray toned teal blue gloss.

A: MacMillian Wild Rose Tenmoku
B: Ceramics Monthly 20 May 2000 Ian MacMillian
B: many versions in Clayart archives
B: same oxides as Gibby Wild Rose Persimmon and Gibby Wild Rose
C: 6
E: 55.7 nepheline syenite
E: 15.8 kaolin
E: 9.5 iron oxide,red
E: 9.5 lithium carbonate
E: 9.5 ash,bone
F: gloss
H: Alisa Clausen: red-brown, breaking black, smooth gloss tenmoku glaze. Very marked black edges on test tile.

A: Frogpond Green
B: www.frogpondpottery.com
B: same oxides as Charcoal Satin Matt
C: 6
D: cool 100C per hour to 900C
E: 31.7 kaolin,EPK
E: 31 frit,Ferro 3124
E: 23.2 Wollastonite
E: 14.1 silica
E: 5.5 rutile
F: gloss
H: Alisa Clausen: with 0.5 copper carbonate, light green smooth gloss with slightly pearly texture showing underneath the gloss, glaze
moved, and pooled around boarder where glaze was dipped up to on test tile. 1 copper, same as above, but slightly greener, the glaze
has larger streaks and shows pearly edges outlining the streaks, also pooled around glaze edge on tile. 2 copper, same as above. 5
copper, dark green gloss, from fine streaks can see glaze moved straight down tile and dripped off tile. I did not get a mat.

A: Frogpond Metallic Black
B: www.frogpondpottery.com
B: same oxides as Black Semigloss, similar to Barringer Metallic Black, Black Gloss and Reed Glory Black
C: 6
E: 78.9 feldspar,Custer
E: 10.7 borate,Gerstley
E: 5.5 calcium carbonate
E: 5 kaolin,EPK
E: 4 copper carbonate
E: 4 manganese dioxide
E: 3 cobalt carbonate
F: metallic
H: Alisa Clausen: a well covering black metallic glaze with a very smooth surface. This recipe and result is very similar to Mary
Barringer Metallic Black published in Ceramics Monthly.

A: Roy Berry Rust
B: Ron Roy revision of Berry Rust
B: similar oxides to Berry Rust 1
C: 6
E: 31 ball clay,OM-4
E: 19.5 frit,Ferro 3134
E: 18 silica
E: 14.5 talc
E: 9 ash,bone
E: 8.5 iron oxide,red
E: 8 nepheline syenite
F: gloss
H: Alisa Clausen: rust red brown covering gloss glaze. The glaze is a lighter brown where thickest and pools, and breaks a bright rust
red. Tenmoku like with some black speckling in the rust red ground. Smoothly melted.

A: Chappel Smooth Alkaline Base
B: James Chappel
C: 6
D: cool to 1020C then 80C per hour to 800C
E: 47.6 frit,Fusion 75
E: 30 kaolin,EPK
E: 13.6 silica
E: 7.7 Wollastonite
E: 2.0 Bentonite
F: gloss
G: crazing
H: Alisa Clausen: used frit 623 for Fusion 75. Clear gloss glaze that crazed where thickest at base of tile.

A: Chappel Smooth Alkaline Base Blue
C: 6
D: cool to 1020C then 80C per hour to 800C
E: 100 Chappel Smooth Alkaline Base
E: 0.85 copper carbonate
E: 0.5 cobalt oxide
E: 0.5 iron oxide,red
F: gloss
G: pinholing
H: Alisa Clausen: a dark cobalt gloss glaze that pinholed considerably.

A: Zamek Clear
B: Jeff Zamek
B: similar oxides to Strnad Crystal Matte
C: 6
E: 20 nepheline syenite
E: 20 calcium carbonate
E: 20 kaolin
E: 20 silica
E: 20 frit,Ferro 3124
F: gloss
G: crazing
H: Alisa Clausen: clear gloss base glaze that crazed at base of test tile.

A: Chun Green
C: 6
E: 38 ash,soda
E: 30 silica
E: 14 calcium carbonate
E: 12 zinc oxide
E: 6 ball clay
E: 2 Bentonite
E: 2 copper carbonate
F: matte
G: excessive soluble material (soda ash)
H: Alisa Clausen: The recipe I copied did not say copper oxide or carbonate. Dry turquoise matte glaze. Using 4 copper carbonate gave
a smooth semi gloss medium green to turquoise glaze.

A: Stonyearth Brown
B: Richard Behrens
C: 6
E: 32.5 strontium carbonate
E: 18.7 nepheline syenite
E: 15.3 kaolin
E: 11.8 clay,Oldenwalder
E: 8.9 Wollastonite
E: 8.4 ash,bone
E: 5.6 tin dioxide
E: 3 copper oxide,black
E: 2.5 silica
E: 2 magnesium carbonate
F: matte
H: Alisa Clausen: the original specified Earth, I used a local clay; the kaolin specified was English Kaolin CC31. Medium brown
matte glaze with slightly purple cast. Very smooth surface. No sign of green as claimed.

A: Straw Yellow
C: 6
E: 46.7 feldspar,potash
E: 16.9 talc
E: 15 ash,bone
E: 11.9 silica
E: 4 kaolin
E: 4 lithium carbonate
E: 3 iron oxide,red
E: 2 Bentonite
F: semigloss
H: Alisa Clausen: A smooth, semi gloss glaze that is well melted. Overall colour is a yellow brown. Where thickest, glaze becomes
lighter with a green pooling. Nice feel.

A: Cream of Mushroom
C: 6
E: 40.67 nepheline syenite
E: 23.34 silica
E: 10.66 spodumene
E: 10.15 zirconia
E: 9.62 calcium carbonate
E: 7.55 borate,Gerstley
E: 4.81 dolomite
E: 4 rutile
E: 3.35 zinc oxide
E: 1 iron oxide,red
E: 1.52 Bentonite
F: gloss
H: Alisa Clausen: used Frit 623 for G.B. A very shiny gloss, smooth with an overall yellow rutile colour. The entire test tile has a
glassy shell of very opalescent blues and whites, with streaking and fuzzing, but no dripping. This test resembles Wolff Cream Gloss
in effect. I think it will be a good glaze for layering over others, like the Cream Gloss is. I have found almost any glossy base with 5%
Rutile makes for a good over glaze on rims for a streaking and opalescent effect.

A: Black Gloss
B: original name Oil Spot
B: same oxides as Barringer Metallic Black, similar to Frogpond Metallic Black and Reed Glory Black
C: 6
E: 78.86 feldspar,potash
E: 10.75 borate,Gerstley
E: 5.48 calcium carbonate
E: 4.91 kaolin,EPK
E: 4.13 copper carbonate
E: 4.13 manganese dioxide
E: 2.07 cobalt oxide
F: gloss
H: Alisa Clausen: used Frit 623 for G.B. A black, glossy, smooth glaze, but no oil (blue iridescent) spots as claimed.

A: Oil Spot Daly
B: John Britt
C: 6
E: 35 feldspar,Custer
E: 26 silica
E: 15 frit,Ferro 3195
E: 9 calcium carbonate
E: 9 talc
E: 9 kaolin,EPK
E: 9 iron oxide,red
E: 2 cobalt carbonate
F: semimatte
H: Alisa Clausen: a blue ground with a brown shell, showing tea dust like spots scattered overall.

A: Oil Spot Candace Black
B: John Britt
C: 6
E: 65 feldspar,NC-4
E: 20 silica
E: 5 calcium carbonate
E: 5 kaolin,EPK
E: 5 dolomite
E: 5 frit,Ferro 3110
F: semimatte
H: Alisa Clausen: black, semimatte glaze with both spots and craters where very, very thick. Application is important and must be
thick, but too thick gives shallow craters. Has an overall Metallic appearance.

A: John and Amy Oil Spot
B: John Britt
C: 6
E: 20 feldspar,Custer
E: 20 kaolin,EPK
E: 20 frit,Ferro 3110
E: 18.5 silica
E: 11.5 talc
E: 10 Wollastonite
E: 9 iron oxide,red
E: 2 titanium dioxide
F: semimatte
H: Alisa Clausen: black with brown gloss with a slight tea dust effect overall. Tenmoku like with a tea dust giving a slightly green
nuance. With added 2% Cobalt, glaze is brown with black edges, and a greenish blue where thickest. More patches than tea dust effect.

A: Oil Spot Rust Brown Underglaze
B: John Britt
C: 6
E: 48 feldspar,G-200
E: 24 silica
E: 17 calcium carbonate
E: 11 kaolin,EPK
E: 10 iron oxide,red
H: Alisa Clausen: gloss, rust brown, some micro spots, designed as underglaze for Oil Spot Brown-White Overglaze

A: Oil Spot Brown-White Overglaze
B: John Britt
C: 6
E: 30 feldspar,G-200
E: 30 borate,Gerstley
E: 25 silica
E: 10 zirconia
E: 5 kaolin,EPK
F: semigloss
H: Alisa Clausen: As above and with subs of both Frit 3134 and local Boron Frit 169, all showed a good amount of spotting. The
colorants all showed well with the subs. The Frit 3134 revealed slightly brighter colors than the G.B. and the Frit 169. Smooth surface
with many spots and a flat lichen appearance. Still could see Rust brown #1 glaze under cover glazes. All have a good contrast
between both glazes.
with 4 copper carbonate light green tint to cover glaze
with 4 cobalt carbonate strong blue color to cover glaze; frit 3134 revealed a stronger blue
with 10 iron oxide,red added brown to cover glaze

A: Icing Pink
B: Paul Lewing
B: similar oxides to Crystalline Aqua Icing
C: 6
E: 41.5 silica
E: 23.6 nepheline syenite
E: 12.4 calcium carbonate
E: 11.2 lithium carbonate
E: 6.5 borate,Gerstley
E: 3.5 rutile
E: 3.0 tin dioxide
E: 2.8 magnesium carbonate
E: 2.0 barium carbonate
F: semimatte
H: Alisa Clausen: used Frit 623 for G.B. Smooth, well melted semi matte glaze, a ballerina tutu pink. It showed a white glaze where
very thick and a pink glaze where it broke thinner over the texture on test tile.

A: Mocha White-Gray
B: original name Crystal Mocha/Gray
C: 6
E: 48.5 frit,Johnson Matthey 169
E: 28.5 zinc oxide
E: 22 silica
E: 8 rutile
E: 2 iron oxide,red
E: 1 kaolin
E: 0.5 cobalt carbonate
F: gloss
H: Alisa Clausen: A fluid gloss glaze with a mocha ground with white and grey streaking. Pooling has deeper brown colour with
streaking. Did not produce crystals in this test but otherwise a very decorative glaze for rims or bowl interiors.

A: Crystal Green
C: 6
E: 52 frit,Johnson Matthey 169
E: 26 zinc oxide
E: 21 silica
E: 2 rutile
E: 1 kaolin
E: 1 copper carbonate
E: 0.5 nickel oxide,black
F: gloss
H: Alisa Clausen: fluid gloss glaze with a light green to turquoise ground. Blue/grey crystals and milky white grounds where thicker.
Pooled in a clear grass green glass.

A: Crystal Light Green-Blue
C: 6
D: cool max. 1100C, 80C per hour to 800C
E: 36 feldspar,potash
E: 24 zinc oxide
E: 15 silica
E: 13 calcium carbonate
E: 7 lithium carbonate
E: 5 kaolin
E: 5 rutile
E: 1 copper carbonate
F: crystalline
H: Alisa Clausen: fluid gloss glaze with turquoise ground and large green crystals. Where glaze pooled, looks like an aerial view of the
Caribbean islands. The crystals have clear structures like precious gems.

A: Crystal Orange-Blue
C: 6
D: cool max. 1100C, 80C per hour to 800C
E: 36 feldspar,potash
E: 24 zinc oxide
E: 15 silica
E: 13 calcium carbonate
E: 7 lithium carbonate
E: 5 kaolin
E: 1 nickel oxide,black
F: crystalline
H: Alisa Clausen: orange to rust transparent ground with large light blue crystals with dark blue crystals inside. The crystals have clear
structures like precious gems.

A: Black Semigloss
B: same oxides as Frogpond Metallic Black, similar to Barringer Metallic Black and Reed Glory Black
C: 6
D: cool max. 1100C, 80C per hour to 800C
E: 78.81 feldspar,K-200
E: 10.76 borate,Gerstley
E: 5.46 calcium carbonate
E: 4.97 kaolin,EPK
E: 4.14 manganese dioxide
E: 3.31 copper carbonate
E: 2 cobalt carbonate
F: semigloss
H: Alisa Clausen: Lush, covering, even black semi gloss glaze. Black, black, black and slightly gun metal. Totally covering where
thinner and thicker.

A: Brown Persimmon
C: 6
E: 37.63 silica
E: 21.51 nepheline syenite
E: 16.13 calcium carbonate
E: 16.13 iron oxide,red
E: 13.98 kaolin,EPK
E: 10.75 borate,Gerstley
F: gloss
H: Alisa Clausen: Reddish brown covering gloss glaze. Dark and even in colour, very smooth feel. More brown than red, a brown
gloss with a rust tinge. Glaze was applied thickly in areas and did not move. Very even melt and colour is very rich and warm. One of
the nicest I have tested in the persimmon families.

A: Clear Gloss
C: 6
E: 30 nepheline syenite
E: 21 borate,Gerstley
E: 10 kaolin,EPK
E: 8 Wollastonite
F: gloss
G: crazing
H: Alisa Clausen: Clear gloss, crazed on my clay body.

A: Clausen Shino
B: modified Malcolm Davis Shino
C: 6
E: 40.91 nepheline syenite
E: 18.18 kaolin,EPK
E: 17.27 ash,soda
E: 13.82 ball clay,OM-4
E: 10 frit,Johnson Matthey 169
E: 9.82 feldspar,F-4
F: gloss
G: crazing, excessive soluble material (soda ash)
H: Alisa Clausen: all white, thick, covering shino glaze. Crazed.

A: Reduction Turquoise
B: similar oxides to Moceri Blue Matte
C: 6R
E: 61.54 nepheline syenite
E: 20.88 strontium carbonate
E: 7.69 silica
E: 6.59 ball clay
E: 4 Bentonite
E: 3.5 copper carbonate
E: 3.3 lithium carbonate
E: 1 Epsom salts
F: matte
H: Alisa Clausen: fired oxidizing. Covering, smooth, well melted turquoise matte glaze. Where thickest, there are tiny white crystals.
A very bright Turkish blue matte. Replacing lithium carbonate by talc makes the colour slightly greener.

A: Reduction Shino
B: same oxides as Barringer Sheen-O
C: 6R
E: 54.5 nepheline syenite
E: 22.8 spodumene
E: 14.9 ball clay
E: 4.9 borate,Gerstley
E: 2.9 ash,soda
F: gloss
G: crazing
H: Alisa Clausen: fired oxidizing. White, covering Shino glaze, crazed.

A: Reduction Woo Yellow
C: 6R
E: 35.64 nepheline syenite
E: 20.06 strontium carbonate
E: 16.16 zirconia
E: 12.95 dolomite
E: 7.59 silica
E: 7.59 kaolin
E: 4 Bentonite
E: 3 iron oxide,red
E: 1 Epsom salts
F: matte
H: Alisa Clausen: fired oxidizing. Smooth, well melted, matte glaze. Soft yellow/white where thickest, darker yellow where thinner.
Overall light in colour and very smooth.

A: Reduction Matte White
B: same oxides as Bates Matte
C: 6R
E: 38.7 nepheline syenite
E: 15.2 Wollastonite
E: 15.2 barium carbonate
E: 10.5 silica
E: 10.2 kaolin,EPK
E: 10.2 borate,Gerstley
F: matte
H: Alisa Clausen: White matte, covering glaze. Slightly dry, very matte, can mark with spoon scraping.

A: Reduction Phila Green
C: 6R
E: 58 nepheline syenite
E: 26 strontium carbonate
E: 10 ball clay
E: 5 silica
E: 4 rutile
E: 4 Bentonite
E: 1 lithium carbonate
E: 1 Epsom salts
F: matte
H: Alisa Clausen: fired oxidizing. Smooth, dark mint green matte glaze, covering. Shows some purple fur on surface. Good feel and
lovely colour contrasts throughout. Replacing lithium carbonate by talc gives more purple red on surface.

A: Reduction Oxblood
B: similar oxides to Perry Reduction Base
C: 6R
E: 54.58 nepheline syenite
E: 12.44 borate,Gerstley
E: 10.44 calcium carbonate
E: 21.06 silica
E: 0.98 tin dioxide
E: 0.38 copper oxide,black
F: gloss
G: crazing
H: Alisa Clausen: fired oxidizing. Clear gloss with red under surface. Crazed.

A: Reduction Satin Spodumene
C: 6R
E: 28.57 spodumene
E: 22.86 dolomite
E: 20.0 feldspar,Custer
E: 11.43 silica
E: 8.57 kaolin
E: 4.76 zirconia
E: 3.81 borate,Gerstley
F: semimatte
H: Alisa Clausen: fired oxidizing. White semi matte glaze with some glossier streaking. Covering.

A: Reduction Tan Satin Matte
C: 6R
E: 42 feldspar,F-4
E: 14 silica
E: 11 barium carbonate
E: 10 calcium carbonate
E: 8.3 kaolin,EPK
E: 8 ball clay
E: 5 rutile
E: 4.5 zinc oxide
E: 2.1 talc
F: matte
H: Alisa Clausen: fired oxidizing. Smooth, covering, waxy, beige tan matte glaze with tiny white crystals.

A: Dry White 1
B: original name Crawl Glaze 1
B: similar oxides to Wilson Textured Crawl
C: 6
D: cool max. to 1100C, 80C per hour to 800C
E: 57 nepheline syenite
E: 22 ball clay
E: 21 magnesium carbonate
F: matte
H: Alisa Clausen: Dry, white glaze that bubbled, but did not crawl. Application was thick, but may need to be beastly thick to crawl.
Smooth to the touch, with a textured surface. Oxides Cobalt, RIO, black stain, Chrome and Ochre showed through the glaze with
straight edges as painted. Chrome turned dark pinkish beige.

A: Dry White 2
B: original name Crawl Glaze 2
C: 6-9
D: cool max. to 1100C, 80C per hour to 800C
E: 30 magnesium carbonate
E: 30 feldspar,soda
E: 15 kaolin
E: 10 frit,Johnson Matthey 169
E: 10 dolomite
E: 5 zinc oxide
F: waxy
G: bubbled surface
H: Alisa Clausen: dry, white glaze that is slightly waxier than Crawl Glaze 1. The surface is rough with bubbles, but has a smooth feel
overall. No crawling but may need to apply very thickly. Oxides cobalt, RIO, black stain, chrome and ochre showed through with
straight edges as painted. Chrome turned dark pinkish beige.

A: Le Matte
B: Lela Martens
B: same oxides as White Semigloss, similar to New Blue
C: 6
E: 51.6 feldspar,potash
E: 18.8 calcium carbonate
E: 15.4 kaolin
E: 8.6 zinc oxide
E: 5.6 silica
F:: matte
H: Alisa Clausen: Smooth, satin matte glaze, white and even covering. Oxides cobalt, RIO, black stain, chrome and ochre all showed
through the glaze. The edges are sharp as painted. The chrome turned a medium pinkish beige.

A: Hansen 20Wx5 White
B: same oxides as Easy White, similar to John Post White
C: 6
E: 100 Hansen 20Wx5 Base
E: 10 zirconia
F: gloss
H: Alisa Clausen: Oxides showed well under this white, gloss glaze. Oxides cobalt, RIO, black stain, chrome and ochre showed well
under glaze. Chrome stayed green, slightly muted in colour by the opacifier. The coloured oxides all have sharp edges and stayed
exactly as painted. This glaze is the glossiest of all of these tests and the oxides showed the clearest under this glaze.

A: Hansen Matte
C: 6
E: 36 frit,Ferro 3134
E: 35 kaolin,EPK
E: 27 Wollastonite
E: 5 silica
G: crazing
H: Alisa Clausen: Oxides cobalt, RIO, black stain, chrome and ochre all showed through glaze. Slight movement of edges, except for
black stain. Chrome looks brown. Crazed on my clay body.

A: Chappel Semigloss
B: www.frogpondpottery.com
B: similar oxides to Alfred White
C: 6
E: 45.7 feldspar,F-4
E: 15.2 silica
E: 12.9 borate,Gerstley
E: 12.7 talc
E: 9 dolomite
E: 4.5 kaolin,EPK
E: 1 Bentonite
F: semimatte
H: Alisa Clausen: Clear semimatte glaze with a satin feel, looks like vellum. Turned slightly yellow on my clay body. All oxides,
cobalt, RIO, black stain, chrome and ochre, showed straight edges as painted. However, glaze covered the oxides enough to let the
painting show through, but the colours were virtually indistinguishable from each other. Otherwise a well covering, good feel,
semimatte glaze.

A: Lamont Iron Red
B: Greg Lamont
C: 6
D: cool 80C per hour to 800C
E: 15 frit,Ferro 3134
E: 15 spodumene
E: 15 ball clay,OM-4
E: 15 silica
E: 11.25 iron oxide,red
E: 7.5 dolomite
E: 3.75 talc
E: 1.5 Bentonite
F: gloss
H: Alisa Clausen: used local ball clay for OM-4. Gloss iron brown glaze with some black speckling in an overall medium brown
ground. Where thickest, became slightly fluid with a single red speck.

A: Chrome Tin Red-Green
B: similar oxides to Edwards Red, Rodgers Wine Purple and Wine Red
C: 6
E: 32.32 silica
E: 21.21 borate,Gerstley
E: 20.02 calcium carbonate
E: 17.17 nepheline syenite
E: 8.08 kaolin,EPK
E: 5.05 tin dioxide
E: 1 talc
E: 0.15 chrome oxide
F: gloss
H: Alisa Clausen: used Frit 623 for G.B. Gloss green glaze with dark red undertones. Lighter, covering green where thickest. I suspect
my Chrome was too high, due to my new and bad scale. However, the glaze is smooth and a green I would hope to achieve again.

A: Wags Waxy White
C: 6
E: 24 Wollastonite
E: 23 kaolin,EPK
E: 19 silica
E: 14 feldspar,Custer
E: 10 frit,Ferro 3134
E: 10 borate,Gerstley
E: 7.5 zirconia
F: gloss
H: Alisa Clausen: added 15 ball clay to try to matte it. Got a white gloss glaze, smooth but not waxy.

A: Wags Waxy White 1
B: Ron Roy reformulation to replace G.B.
C: 6
E: 28 kaolin,EPK
E: 23 frit,Ferro 3134
E: 23 Wollastonite
E: 17.5 silica
E: 11.34 talc
E: 7.6 feldspar,Custer
F: gloss
H: Alisa Clausen: A clear gloss, yellow tinged. Stripes of oxides under glaze, top recipe, all showed well through and true to colour.
Chrome stayed green, but slightly browner than in raw form.

A: Violet Semigloss
B: same oxides as Sharon Cobalt Blue
C: 6
E: 41.4 nepheline syenite
E: 27 quartz
E: 11.7 dolomite
E: 10 borate,Gerstley
E: 5.4 magnesium carbonate
E: 4.5 calcium carbonate
E: 2 cobalt carbonate
F: semigloss
H: Alisa Clausen: A semi gloss light blue to violet glaze. Better covering where thicker and smooth.

A: Tortoise Shell Brown
C: 6
E: 30 silica
E: 27.59 frit,Ferro 3124
E: 22.18 kaolin,EPK
E: 13.05 dolomite
E: 11.75 iron oxide,red
E: 3.91 calcium carbonate
E: 3.26 lithium carbonate
E: 2 Bentonite
F: gloss
H: Alisa Clausen: used Frit 623 for 3124. A gloss iron brown glaze. Variations in a smooth surface of dark brown and lighter brown
streaking best visible on inside of test tile. A few red specks.

A: Maria Blue
B: PMI May/June 03 specified G.B. or frit 3134
C: 6
E: 43 nepheline syenite
E: 24 borate,Gerstley
E: 19 silica
E: 9 zinc oxide
E: 5 kaolin
E: 5 rutile
E: 1 cobalt carbonate
F: gloss
H: Alisa Clausen: a glossy bluish/light green glaze with a lot of opalescence overall. Fluid where thickest, but did not drip. With Frit
3134 shows a similar glaze, glossy and deeper blues where opalescent The deeper opalescence gives the glaze, in general, a bluer cast.
The overall colour of the glaze is slightly deeper than the above. With local frit 623 is glossy and is overall a yellowish green. There is
no opalescence and the colour is more uniform.

A: Burke Celedon Turquoise
C: 6
E: 58 feldspar,Custer
E: 17 calcium carbonate
E: 14 silica
E: 6 ball clay,OM-4
E: 5 zinc oxide
E: 0.25 copper carbonate
F: gloss
H: Alisa Clausen: A gloss glaze that has a clear shell over pale turquoise ground. The overall glaze has a pale aqua colour. Stayed
where it was dipped. Deeper aqua where thickest. Using 1 copper carbonate resulted in a deep turquoise green gloss glaze. Mottling
and fuzzing with both richer and lighter tones. Deeper colour where thickest.

A: Berry Rust 1
B: similar oxides to Roy Berry Rust
C: 6
E: 27 kaolin,EPK
E: 26 silica
E: 18 frit,Ferro 3134
E: 13 talc
E: 12 iron oxide,red
E: 9 ash,bone
E: 7 nepheline syenite
F: gloss
H: Alisa Clausen: Gloss iron red glaze. Well covering and smooth. Darker where thinner or breaking, lusher red iron red colour where
thickest.

A: Annie Tan
B: same oxides as Touchstone Base, similar to Randy Blue, Rita Schiavones Periwinkle and Rhoades White Satin Matte
C: 6
E: 32 borate,Gerstley
E: 30 silica
E: 20 feldspar,potash
E: 14 talc
E: 5 kaolin,EPK
F: gloss
H: Alisa Clausen: used frit 623 for G.B. Gloss caramel brown coloured glaze. Some streaking and moving but did not drip. Rivulets
with a slight greenish cast.

A: Nutmeg Semimatte
B: same oxides as Rust Nutmeg, similar to Schran Orange Brown
C: 6
E: 23.3 dolomite
E: 23.3 spodumene
E: 23.3 ball clay,OM-4
E: 23.3 silica
E: 6.8 frit,Ferro 3134
E: 4.85 tin dioxide
E: 3.24 ochre
E: 1.94 Bentonite
E: 1 iron oxide,red
F: semimatte
H: Alisa Clausen: Semi matte, smooth glaze that has a orange red ground. Glaze surface is spotted and speckled with tan and white,
giving the overall appearance of a mottled, light red-brown glaze. Light yellow-tan where thickest. Smooth to the feel.

A: Frosty Black
B: PMI May/June 03
C: 6
E: 32 nepheline syenite
E: 23 silica
E: 23 calcium carbonate
E: 13 kaolin
E: 9 zinc oxide
E: 5 iron oxide,black
E: 3 cobalt oxide
E: 2 copper oxide,black
E: 1 manganese dioxide
F: semigloss
H: Alisa Clausen: used Red Iron Oxide for Black. Semi gloss covering black ground with matte black frost on surface. Uniform
covering from thinnest to thickest application. Smooth to touch. Breaking areas are matte. Overall appearance is a lush, covering black
glaze. Using 26.7 Wollastonite for 23 calcium carbonate resulted in a glaze that was as covering, but slightly glossier in general.
Overall, still a semi gloss glaze. Depth of black colour is the same. Reduced matte frost on surface.

A: White Semigloss
B: same oxides as Le Matte, similar to New Blue
C: 6
E: 51.6 feldspar,potash
E: 18.8 calcium carbonate
E: 15.4 kaolin,EPK
E: 8.6 zinc oxide
E: 5.6 silica
F: semigloss
H: Alisa Clausen: White, covering semi gloss glaze. Waxy to the feel. Covering was uniform from thinnest to thickest application.
With 21.8 Wollastonite subbed for 18.8 calcium carbonate, no visible difference or feel in glaze.

A: Alfred White
B: similar oxides to Chappell Clear Semigloss, Chappel Semigloss and Textured Blue
C: 6
E: 46.7 feldspar,F-4
E: 15.3 silica
E: 13.7 talc
E: 11.6 borate,Gerstley
E: 8 dolomite
E: 4.5 kaolin,EPK
F: underfired
H: Alisa Clausen: remained very high on the test tile, as to say, melted but not mature. It is thick and white, with areas of separation in
the surface, where the glaze began to melt, but not enough to smooth out. Overall soft white colour. Replacing G.B. with local borax
Frit 623 showed a similar glaze result.

A: Blue Overglaze
B: Cardew, Pioneer Pottery
C: 6
E: 20 cobalt carbonate
E: 20 tin dioxide
E: 20 kaolin
E: 15 clay,Redart
E: 10 manganese dioxide
E: 10 talc
E: 5 iron oxide,red
H: Alisa Clausen: used Oldenwalder red clay for Redart. On Hansen 20x5 clear base, showed a gloss, dark cobalt blue overglaze. The
paint strokes on top of the glaze did not move or feather. On ToDo White matte glaze, showed a brown matte overglaze. The paint
strokes did not move or feather.

A: Chalke Black Matte
B: John Chalke
C: 6
D: hold 1 hour at 800C
E: 49.2 feldspar,potash
E: 19.9 kaolin
E: 17.9 calcium carbonate
E: 8 zinc oxide
E: 6.7 iron oxide,red
E: 5.0 silica
E: 1.3 cobalt oxide
F: matte
H: Alisa Clausen: Black matte glaze that is covering and has a smooth surface.

A: Burboe Mustard
C: 6
E: 27.3 ball clay,OM-4
E: 22.7 slip,Albany
E: 22.7 feldspar,F-4
E: 11.4 dolomite
E: 9.1 zirconia
E: 6.8 ash,bone
E: 6.8 barium carbonate
E: 4.5 zinc oxide
E: 2.3 iron oxide,red
E: 2.3 rutile
E: 2.3 lithium carbonate
F: matte
H: Alisa Clausen: used Oldenwalder clay for Albany. A mustard brown glaze with a variegated surface. Areas of matte under a
glossier surface with yellow speckling. Well covering glaze that is smooth to the touch. Stiff around bottom edge of tile even where
thick.

A: Whinnie White
B: Hal Whinnie
C: 6
E: 54 feldspar,A-3
E: 14 kaolin,EPK
E: 14 calcium carbonate
E: 6 barium carbonate
E: 5 silica
E: 4 zinc oxide
E: 2 magnesium carbonate
F: semimatte
H: Alisa Clausen: A smooth, semi matte, white glaze. Opaque where thickest, and milky where thinner. Soft white all over with an
even surface. Close to a waxy surface, a little drier.

A: Golden Celadon
C: 6
E: 70 feldspar,F-4
E: 16 calcium carbonate
E: 12 silica
E: 5 Epsom salts
E: 3 Bentonite
E: 3 iron oxide,red
F: gloss
H: Alisa Clausen: omitted both Bentonite and Epson salts. Transparent, gloss glaze with an ochre brown. Even surface and colour.

A: Lamont Caramel Apple
B: Chris Schafale
C: 6
E: 32 silica
E: 19 ball clay,OM-4
E: 16 frit,Ferro 3134
E: 16 spodumene
E: 15 iron oxide,red
E: 8 dolomite
E: 5 ash,bone
E: 4 talc
F: semigloss
H: Alisa Clausen: used local ball clay for OM-4. Covering iron red brown semi gloss glaze. The underlying darker colour of a brown
to black is muted by a variegated shell surface with a greenish cast. Where the glaze is thickest, the colour becomes a warmer toffee
brown. Where thinnest, the glaze is more even in colour, which is a dark tenmoku-like brown, with black edges. This glaze will could
give a good play of colour with two different applications on the same work. Without RIO, a fat, semi-gloss white glaze. Milky where
thinner, opaque and white where thicker. Surface is smooth with some very small crystals. Pooled around edge where thickest but did
not drip.

A: Pinnell Strontium Matte White
B: Peter Pinnell
C: 6
E: 60 nepheline syenite
E: 20 strontium carbonate
E: 10 ball clay
E: 9 silica
E: 5 titanium dioxide
E: 1 lithium carbonate
F: matte
H: Alisa Clausen: White mat glaze that is covering. Semi mat where thickest and thoroughly melted. Drier, rougher surface and
immature looking where thinnest.

A: Roy Strontium Matte White
B: revised Pinnell Strontium Matte White
C: 6
E: 40 spodumene
E: 20 strontium carbonate
E: 20 nepheline syenite
E: 10 ball clay
E: 9 silica
E: 5 titanium dioxide
E: 2 Bentonite
E: 1 lithium carbonate
F: matte
H: Alisa Clausen: White covering glaze that is dry and pebbly. In both thick and thin areas, glaze appears to be immature at cone 6.
The revision was made to help with a crazing problem of the original recipe. Neither glaze crazed on my clay body.

A: Randy Red Revised
B: Clay Times Sep/Oct 2002 Toni Smith
B: similar oxides to Litman Red Brown and Rosie Rust Brown
C: 6
D: hold 1 hour at 800C
E: 31 borate,Gerstley
E: 30 silica
E: 20 feldspar,F-4
E: 15 iron oxide,red
E: 14 talc
E: 5 kaolin,EPK
E: 2 Bentonite
F: gloss
H: Alisa Clausen: used Frit J for G.B., ball clay for F-4 feldspar. A gloss glaze that is dark brown. It is slightly less glassy on the
surface than the typical recipe of 50 G.B. 30 Kaolin and 20 Silica.
H: Donna Kat: comes out much more brown than red using Texas Talc, it was closer to red using New York talc.
H: Ann Brink: I like this very much, both with the RIO, or as a base glaze. It does not get flakey when the glaze dries, as do some
others, nor pinhole.

A: Clausen Clear Semimatte Base
B: Alisa Clausen
C: 6
E: 27 frit,Ferro 3124
E: 30 kaolin,EPK
E: 18 silica
E: 10 ball clay,OM-4
E: 15 dolomite
F: semimatte
H: Alisa Clausen: a semi mat base, colours well and goes well over oxide washes and underglazes.

A: Kendall Matte Tan
B: Candice Roeder
C: 6R
E: 63.5 nepheline syenite
E: 11.2 talc
E: 8.4 calcium carbonate
E: 6.5 borate,Gerstley
E: 3.7 magnesium carbonate
E: 3.7 Bentonite
E: 2.8 lithium carbonate
F: matte
H: Candice Roeder: this is a studio shop glaze. A slightly heavier reduction is needed for cone 6 than in cone 9/10.

A: Kendall Matte Orange
C: 6R
E: 100 Kendall Matte Tan
E: 4 rutile
F: matte
H: Candice Roeder: this is a studio shop glaze.

A: Reddish Brown Black Tenmoku
B: Candice Roeder
C: 6R
E: 35 feldspar,Custer
E: 17 calcium carbonate
E: 21 silica
E: 16 iron oxide,red
E: 8 kaolin,EPK
E: 3 Bentonite
F: gloss
H: Candice Roeder: this is a studio shop glaze. A slightly heavier reduction is needed for cone 6 than in cone 9/10.

A: Cream-breaking Red
B: a Readers Digest craft book
C: 5-7
E: 35 borate,Gerstley
E: 15 feldspar,F-4
E: 13 tin dioxide
E: 10 calcium carbonate
E: 10 silica
E: 3.75 strontium carbonate
E: 2 iron oxide,red
F: gloss
H: Candice Roeder: a nice fat cream to beige glaze, glossy but not garish. Breaks to reddish brown where thin. If your clay body has
much iron in it, the reddish breaking is quite pronounced, with speckles. I use it on white stoneware up to cone 7, and sometimes on
porcelain, though on porcelain it is less earthy looking. It is a nice neutral earth tone. Stores well, coats well. Well behaved and
forgiving. Dark slips used underneath will show through. In reduction it comes out brown.
H: Ron Roy: when I calculate this glaze and compare it to all three sets of limit formulas I use - with B2O3 in and out of unity - the
answer is always the same - this is a low fire glaze (08 at best.) At cone 6 it has less then half the alumina and silica needed for a stable
glaze at that temperature. One of the reasons unbalanced glazes like this are so attractive is: when there is more flux than needed for
melting the silica and alumina in the glaze, the flux starts looking for something to melt - that something is the clay (mostly the silica
part of clay) it is on. Most of us like that effect (breaking on edges etc.) - which comes more naturally in hi fire reduction.

A: Reduction Yellow-Orange Matte
B: Don Curtis
C: 9-10R
E: 50 feldspar,Custer
E: 20 kaolin
E: 16 dolomite
E: 8 calcium carbonate
E: 8 ash,bone
E: 6 Wollastonite
E: 5 tin dioxide
E: 1.5 rutile
E: 1 iron oxide,red
F: matte
H: Don Curtis: I have had good results with it. Works well with oxides.

A: Cooper LB/T White
B: Bonnie Staffel
C: 8
D: cool maximum rate to 800C hold 1 hour
E: 31.5 feldspar,soda
E: 16.3 silica
E: 19.2 calcium carbonate
E: 15.7 kaolin
E: 12.1 zirconia
E: 4.4 zinc oxide
E: 2 Bentonite
F: matte
H: Alisa Clausen: white mat, slightly dry.

A: White Crackle
B: The Potters Manual, Kenneth Clark
C: 8
E: 80 feldspar,soda
E: 10 kaolin
E: 10 calcium carbonate
F: matte
G: crazing
H: Kenneth Clark: fired to 1275, showed large crackling, like a raku firing. Refire after cracks are filled with iron oxide to get a
smooth surface.

A: Hewitt Clear Matte
B: David Hewitt
C: 8
E: 50 stone,Cornwall
E: 23 dolomite
E: 22 kaolin
E: 10 talc
E: 6 calcium carbonate
F: matte
H: David Hewitt: I apply it over coloured slips, whose colours show through the glaze, if that meets your requirement of clear. If an
area is double dipped it comes out whiter so it is sensitive to thickness and drips or runs want to be avoided unless the variation in
thickness and colour suits your pot. If fired above cone 8 it progresses to being shiny.

A: Aerni Pink Matte
B: Richard Aerni
C: 9-10R
E: 61 feldspar,Custer
E: 24 calcium carbonate
E: 15 kaolin,EPK
E: 5 rutile
E: 1 chrome oxide
E: 0.5 cobalt carbonate
F: matte
H: Richard Aerni: this is pretty darn pink!

A: Merritt Yellow
B: Clarence Merritt; also called Lewis Yellow and Woo Yellow
C: 9-10R
E: 39.29 feldspar,F-4
E: 29.76 barium carbonate
E: 17.86 zirconia
E: 14.29 dolomite
E: 8.33 kaolin,EPK
E: 8.33 silica
E: 3.57 iron oxide,red
F: matte
G: potentially toxic
H: Richard Burkett: an opaque yellow stoney matt. I have tried this with the usual strontium carbonate-for-barium substitution, and
while it still yields a yellowish glaze, it is not the same.
H: Ron Roy: My conservative guess is that this glaze would release at least 100 times the recommended safe level of barium into some
foods.

A: Reduction Oxblood Red
B: Ceramics Web
B: similar oxides to Perry Reduction Base
C: 7R
E: 55.33 nepheline syenite
E: 21.35 silica
E: 12.61 borate,Gerstley
E: 10.71 calcium carbonate
E: 1 tin dioxide
E: 0.39 copper carbonate
H: Rafael Molina-Rodriguez: I fire this glaze to cone 7 reduction in a light soda firing. It is a very nice oxblood red.

A: Sondahl Pale Blue
B: Brad Sondahl
C: 9
E: 21.2 feldspar,Custer
E: 19.4 calcium carbonate
E: 19.4 silica
E: 16.2 zirconia
E: 9.7 kaolin
E: 6.5 zinc oxide
E: 4.9 spodumene
E: 1.1 copper carbonate
E: 1.1 rutile
E: 0.5 cobalt carbonate
F: semigloss
H: Dean McRaine: like it, but prefer rutile or turquoise blues to cold cobalt.

A: Alfred Rutile Blue
B: Alfred University
B: same oxides as Kevin Rutile Blue
C: 9-10R
E: 32.2 feldspar,G-200
E: 20.5 calcium carbonate
E: 19.5 silica
E: 16.6 kaolin,EPK
E: 11.2 talc
E: 8.3 rutile
F: semigloss
H: Tracy Wilson: tan where thin, beige where medium and mottled light blue where thick. Satin matt to gloss.

A: Kevin Rutile Blue
B: same oxides as Alfred Rutile Blue
C: 9-10R
E: 30 feldspar,G-200
E: 26.3 silica
E: 16.8 kaolin,EPK
E: 15.8 dolomite
E: 11.1 calcium carbonate
E: 8 rutile
F: semigloss
H: Tracy Wilson: tan satin almost gold where thin, pasty blue gloss where thick. Beautiful
with slip

A: Leach Blue
B: Bob Santerre
C: 9-10R
E: 55 feldspar,G-200
E: 22 calcium carbonate
E: 14 silica
E: 4 borate,Gerstley
E: 3 tin dioxide
E: 1 cobalt carbonate
E: 0.5 manganese dioxide
F: gloss
H: Tracy Wilson: medium blue where thick and slate blue where thin.

A: Anderson Blue
C: 9-10R
E: 53.3 feldspar,soda
E: 20 calcium carbonate
E: 13.3 kaolin,EPK
E: 6.7 ball clay,OM-4
E: 6.7 cobalt carbonate
F: matte
H: Tracy Wilson: almost black where thin, army green where thick. Nice colonial bluish slate over white slip

A: Blatant Blue
B: Ellen Baker
B: similar oxides to Behrens Stony Matte, Clarke Simple Blue, Britt Blue Celadon, Reduction New Blue and Santerre Stable Blue
C: 9-10R
E: 32 silica
E: 27 feldspar,G-200
E: 20 ball clay,OM-4
E: 19 calcium carbonate
E: 2 cobalt carbonate
F: gloss
H: Tracy Wilson: rich glossy deep blue.

A: Mayan Deep Blue
C: 9-10R
E: 50 borate,Gerstley
E: 35 silica
E: 20 Bentonite
E: 15 kaolin,EPK
E: 10 chrome oxide
E: 10 cobalt carbonate
H: Tracy Wilson: deep teal over white slip, otherwise dark blue/black where thick, brown
where thin. Crawled slightly over the slip.

A: Dunham Black Brown Blue
B: Bob Santerre
C: 9-10R
E: 39.5 feldspar,G-200
E: 23.7 silica
E: 11 calcium carbonate
E: 11 strontium carbonate
E: 6.3 kaolin,EPK
E: 4 rutile
E: 4 iron oxide,red
E: 0.4 copper carbonate
F: gloss
H: Tracy Wilson: black brown that almost looks like tenmoku but very deep blue where it pools

A: Santerre Stable Blue
B: Bob Santerre
B: similar oxides to Behrens Stony Matte and Blatant Blue
C: 9-10R
E: 30.6 feldspar,G-200
E: 26.55 silica
E: 18.9 calcium carbonate
E: 12.66 ball clay,OM-4
E: 10.2 kaolin,EPK
E: 1.21 cobalt carbonate
F: gloss
H: Tracy Wilson: medium royal blue with or without slip, breaking to green where thin.

A: Carlton Mottled Blue
C: 9-10R
E: 42.1 feldspar,G-200
E: 27.2 silica
E: 8.8 borate,Gerstley
E: 8.8 dolomite
E: 4 rutile
E: 3.3 strontium carbonate
E: 3 Bentonite
E: 2.6 calcium carbonate
E: 2.6 tin dioxide
E: 1.8 kaolin,EPK
E: 1.7 zinc oxide
E: 0.5 copper carbonate
F: gloss
H: Tracy Wilson: heavy textured lavender to blue over white slip. Nice rutile blue where thick breaking to brown. Adding 1 cobalt
carbonate makes it darker blue.

A: Goodrich Mediterranean Blue
B: Don Goodrich
C: 9-10R
E: 33.3 feldspar,G-200
E: 25 calcium carbonate
E: 25 silica
E: 12.5 ball clay,OM-4
E: 5 cobalt carbonate
E: 4.2 zinc oxide
E: 2.5 chrome oxide
F: semigloss
H: Tracy Wilson: satin smooth deep teal (thick) to black (thin).

A: Midnight Cobalt Blue
B: Ellen Baker
C: 9-10R
E: 33 feldspar,G-200
E: 31 silica
E: 20 calcium carbonate
E: 14 kaolin,EPK
E: 7 cobalt carbonate
E: 2 spodumene
F: gloss
H: Tracy Wilson: very deep dark glossy blue.

A: Cooper Blue Crystal
B: Emmanuel Cooper
C: 9-10R
E: 35 feldspar,G-200
E: 30 silica
E: 20 dolomite
E: 10 calcium carbonate
E: 10 rutile
E: 5 Bentonite
E: 1.5 cobalt carbonate
F: semimatte
H: Tracy Wilson: pulled up like an ash glaze, pea green to slate blue.

A: Clemson Blue Green Satin Matte
B: Clemson University
B: similar oxides to Blue Jean
C: 9-10R
E: 38.5 feldspar,G-200
E: 20 calcium carbonate
E: 20 kaolin,EPK
E: 15 silica
E: 6 rutile
E: 1 cobalt carbonate
F: semimatte
H: Tracy Wilson: slate blue breaking to green where thin. Also a nice gray where the green is.

A: Satin Red Brown
C: 9-10R
E: 50 stone,Cornwall
E: 25 kaolin,EPK
E: 25 calcium carbonate
E: 8 iron oxide,red
F: semimatte
H: Tracy Wilson: very metallic brown going to deep red over white slip.

A: Moceri Blue Matte
B: Ellen Baker
B: similar oxides to Reduction Turquoise
C: 9-10R
E: 59.11 nepheline syenite
E: 18.48 strontium carbonate
E: 6.9 kaolin,EPK
E: 3.94 silica
E: 1.97 Bentonite
E: 1.97 lithium carbonate
E: 1.48 copper oxide,black
F: matte
H: Tracy Wilson: turquoise stony matt, goes to lavender over slip

A: Pablo Blue
C: 9-10R
E: 46.8 feldspar,G-200
E: 20 silica
E: 13.7 borate,Gerstley
E: 12 calcium carbonate
E: 6 dolomite
E: 4 zinc oxide
E: 3 tin dioxide
E: 2.5 kaolin,EPK
E: 1 cobalt carbonate
E: 0.5 copper oxide,black
E: 0.5 rutile
E: 0.5 iron oxide,red
F: gloss
H: Tracy Wilson: milky dark blue.

A: Israeli Blue 1
B: Naama
C: 9-10R
E: 50 feldspar,soda
E: 20 kaolin,EPK
E: 10 magnesium carbonate
E: 10 calcium carbonate
E: 10 silica
E: 2 cobalt carbonate
E: 1 manganese dioxide
F: semimatte
H: Tracy Wilson: satin deep blue going to tan where thick. Feels wonderful and buttery

A: Israeli Blue 2
B: Naama with Tom Buck
C: 9-10R
E: 50 feldspar,soda
E: 20 kaolin,EPK
E: 10 talc
E: 10 calcium carbonate
E: 10 silica
E: 2 cobalt carbonate
E: 1 manganese dioxide
F: gloss
H: Tracy Wilson: talc instead of magnesia makes the glaze glossier, the colour is not quite as consistent but a little deeper blue.

A: Textured Blue
B: similar oxides to Alfred White
C: 9-10R
E: 21.03 feldspar,G-200
E: 21.03 nepheline syenite
E: 19.61 silica
E: 14.44 talc
E: 11.82 borate,Gerstley
E: 7.53 dolomite
E: 4.53 ball clay,OM-4
E: 3 cobalt oxide
F: semimatte
H: Tracy Wilson: satin, deep purple where thick, midnight blue where medium. Soft purple with slip.

A: Reduction New Blue
B: similar oxides to Blatant Blue, Behrens Stony Matte and Clarke Simple Blue
C: 9-10R
E: 37 silica
E: 30 feldspar,G-200
E: 16 calcium carbonate
E: 13 kaolin,EPK
E: 5 dolomite
E: 2 Bentonite
E: 1 rutile
E: 0.5 iron oxide,red
E: 0.5 cobalt carbonate
F: gloss
H: Tracy Wilson: slate blue. Looks good over slip

A: Dark Plum
C: 9-10R
E: 35 nepheline syenite
E: 30 silica
E: 15 dolomite
E: 8 calcium carbonate
E: 6 strontium carbonate
E: 4 kaolin,EPK
E: 4 manganese dioxide
E: 0.5 cobalt carbonate
F: gloss
H: Tracy Wilson: variegated brown and blue, not a lot of colour concentration.

A: Glossy Deep Blue Green
C: 9-10R
E: 28.1 silica
E: 28 feldspar,G-200
E: 24 calcium carbonate
E: 19.8 kaolin,EPK
E: 3.1 zinc oxide
E: 1.4 cobalt carbonate
E: 0.3 chrome oxide
F: semigloss
H: Tracy Wilson: deep teal over stoneware, deep blue on white slip, satin to almost gloss.

A: Waxy Matte Blue
B: Bonnie Terry
C: 9-10R
E: 39 feldspar,G-200
E: 23 silica
E: 15 talc
E: 12 borate,Gerstley
E: 7 dolomite
E: 4 kaolin,EPK
E: 4 rutile
E: 0.5 cobalt carbonate
F: semigloss
H: Tracy Wilson: satin solid brown where thin to medium. Mottled breaking blues browns and gold.

A: Davidson Blue Matte
B: Gould Academy
C: 9-10R
E: 53.8 feldspar,G-200
E: 24.8 calcium carbonate
E: 21.4 ball clay,OM-4
E: 0.7 cobalt carbonate
F: matte
H: Tracy Wilson: colonial blue breaking to soft green where thick. Bland brown where thin. Does not break to green over white slip.

A: Rich Matte Blue
C: 9-10R
E: 39 feldspar,G-200
E: 25 kaolin,EPK
E: 21 dolomite
E: 11 silica
E: 2 borate,Gerstley
E: 2 calcium carbonate
E: 1 cobalt carbonate
E: 0.5 manganese dioxide
E: 0.25 chrome oxide
F: semimatte
H: Tracy Wilson: dark brown on stoneware, slate blue over white slip.

A: Reduction Peacock Blue
C: 9-10R
E: 34 feldspar,G-200
E: 19 talc
E: 19 silica
E: 12 borate,Gerstley
E: 9 kaolin,EPK
E: 7 calcium carbonate
E: 0.5 chrome oxide
E: 0.3 cobalt oxide
F: semigloss
H: Tracy Wilson: Light blue satin, where thick hint of teal.

A: Seacrest Purple
B: Penland School of Crafts-Book of Pottery
C: 9-10R
E: 53.7 feldspar,potash
E: 22.4 silica
E: 12.9 calcium carbonate
E: 6 kaolin
E: 3 iron oxide,black
E: 3 rutile
E: 2.5 Colemanite
E: 2.5 zinc oxide
F: gloss
H: Dana Henson: very deep blue, often has flecks of gold and rust, depending on the firing. If applied too thin it is an ugly brown; if
applied too thick it becomes milky. I have only seen the glaze go reddish purple on a white clay body with moderate reduction. It is a
good glaze. It breaks a rich brown over texture.

A: Selsor Reduction Base
B: Marcia Selsor
C: 6R
E: 30 nepheline syenite
E: 29 borate,Gerstley
E: 17.2 talc
E: 13.3 kaolin,EPK
E: 10 silica
E: 9.4 calcium carbonate
H: Marcia Selsor: a nice base glaze, been using it so long I do not remember the source. With 15 zirconia, we call this White Liner.
With 5 rutile plus 3 red iron oxide, pumpkin to oak leaf colour With 3 red iron oxide plus 3 rutile, a spicy mustard With 0.5 cobalt
carbonate plus 0.5 rutile, a light blue With 3 rutile, gold

A: Cooper White
B: The Potters Book of Glaze recipes
C: 8-9
E: 40 feldspar,potash
E: 20 calcium carbonate
E: 20 silica
E: 10 titanium dioxide
E: 5 ball clay
E: 5 kaolin
F: semigloss
H: Carol Knezevic: dependable for cones 8 and 9, best in oxidation and over a white body.

A: Sondahl White
B: Brad Sondahl
C: 8-10
E: 21.7 feldspar,Custer
E: 20 calcium carbonate
E: 20 silica
E: 16.7 zirconia
E: 10 kaolin
E: 6.7 zinc oxide
E: 5 spodumene
H: Brad Sondahl: really nice over cobalt slips, has been my basic white for many years.

A: Shrimp Crystalline
B: Ceramics Monthly Lewis Snyder
C: 8-10R
E: 42.3 feldspar,potash
E: 20.6 stone,Cornwall
E: 19.6 calcium carbonate
E: 9.3 ball clay
E: 8.2 kaolin,calcined
E: 6.2 iron oxide,red
E: 4.1 rutile
E: 3.1 zinc oxide
F: matte
G: crazes
H: Caroline Curran: breaks in interesting ways and develops interesting microcrystals from the zinc and rutile.
H: David Hendley: not for use on functional surfaces. It crazes on my clay body, and probably would on most, but like all low-silica
matts you do not notice it unless you get out your magnifier and look for it.

A: Buckskin Tan
B: Reg Wearley
C: 6
E: 50 slip,Albany
E: 20 barium carbonate
E: 10 Colemanite
E: 10 nepheline syenite
E: 10 rutile
F: matte
G: potentially toxic
H: Reg Wearley: tan breaking to brown with a very unique surface, we use this on a red clay that fires buff.

A: Selsor Yellow Matte
B: Marcia Selsor
C: 6R
E: 45 frit,Ferro 3124
E: 20 frit,Ferro 3247
E: 15 zirconia
E: 10 dolomite
E: 5 kaolin,EPK
E: 3 calcium carbonate
E: 3 iron oxide,red
F: matte
H: Marcia Selsor: a nice yellow

A: Blue Jean Blue
B: Randy McCall, modified Chappell Floating Blue
B: similar oxides to Chappell Floating Blue and Slate Blue With Green Specks
C: 6
E: 47.3 nepheline syenite
E: 27 borate,Gerstley
E: 20.3 silica
E: 6 rutile
E: 5.4 kaolin,EPK
E: 1 cobalt carbonate
F: gloss
H: Randy McCall: I usually brush on two coats and sponge on the last coat. It does need at least three brushed on coats. I like to
sponge on the last coat as sometimes you will get a thin spot when brushing all coats.

A: Fustes liner
C: 9-10R
E: 34.7 feldspar,Custer
E: 23.6 kaolin,EPK
E: 19.6 dolomite
E: 18.9 silica
E: 3.1 calcium carbonate
F: satin
H: Bill Merrill: a smooth lustrous satin, that cleans up extremely well. I slow cool my kiln and it does not go matt. If you leave out the
silica it produces a white to orange mat glaze. It is quite beautiful on an iron body stoneware, with or without the silica. The glaze
when mixed without the silica likes strong reduction and a slow cool.

A: Turner Beauty
B: old issue of Ceramics Monthly
B: similar oxides to Smith Spodumene White Orange
C: 10R
E: 30 feldspar,Custer
E: 22 dolomite
E: 20 spodumene
E: 20 kaolin,EPK
E: 6 tin dioxide
E: 2 calcium carbonate
H: Don MacDonald: likes plenty of reduction, beautiful yellow, looks best on light clay bodies, but is insufficiently durable for
dinnerware.

A: Yellow Salt
B: Anderson Ranch
C: 10R
E: 63.9 nepheline syenite
E: 21.1 dolomite
E: 16 zirconia
E: 4.3 ball clay,OM-4
E: 4 Bentonite
E: 1 iron oxide,red
H: Tom Roess: everyone at our studio likes it.

A: Hunter Green
B: Barbara Murphy
C: 10R
E: 60 feldspar,soda
E: 20 kaolin,EPK
E: 10 calcium carbonate
E: 10 dolomite
E: 10 silica
E: 2.2 chrome oxide
E: 1.1 cobalt carbonate
F: matte
H: Barbara Murphy: I have been working with it for about 8 years. It is quite repeatable, not too reduction sensitive, and does not move
unless you mix or overlap with other glazes. I use it with an oatmeal glaze that looks pretty good.

A: Van Guilder Wood Ash
B: John Britt, High Fire Glazes
C: 10R
E: 31 calcium carbonate
E: 24 ball clay,OM-4
E: 22.5 silica
E: 15 ash,hardwood
E: 5 feldspar,Custer
E: 4 rutile
E: 2.5 dolomite
E: 0.75 iron oxide,red
E: 0.5 cobalt carbonate
G: Ivor Lewis: unwashed wood ash glaze contains a large volume of potash-rich water. Potash is the principle melting agent in this
recipe. If you apply this to bisque ware the potash rich solution will soak into the porous fired clay and make no contribution to the
bulk of the glaze. Furthermore, once potash reaches its melting point it will react with silica forming potassium silicate and
discharging carbon dioxide. This will cause cratering and blistering.
G: Craig Martell: very low in both alumina and silica and will overfire and run.
H: Ingeborg Foco: I did some tests and I liked the results. The ash was maple, Douglas fir, scrub oak and 2x4s (spruce,pine,fir),
unwashed. Then I made a larger batch and had horrible results. Most of the pots ran heavily and had large craters and or blisters.
H: Lee Love: thin test tiles pick up much less of the glaze than the thickness of your average pot.

A: Britt Blue Celadon
B: John Britt
B: similar oxides to Blatant Blue, Clarke Simple Blue and Behrens Stony Matte
C: 10R
D: I begin reduction at cone 012-010 and keep it until cone 10.
E: 35 silica
E: 25 feldspar,Custer
E: 20 calcium carbonate
E: 20 kaolin,Grolleg
E: 2 barium carbonate
E: 1 tin dioxide
H: John Britt: use it regularly. I have had it tested several times at both Alfred Labs and Brandywine Labs with very low leach level. I
have tried the same glaze without barium and the colour was not as good or was sporadic.

A: Murrow Shino
B: Hank Murrow
C: 10R
E: 55.4 nepheline syenite
E: 26 kaolin,McNamee
E: 18 spodumene,low-melt
E: 0.6 cryolite
G: crawling
H: Hank Murrow: white where thick; red where thin. Best with early reduction firing with a long concluding period of oxidation, or a
soak in oxidation during cooling. Yields a very soft and fat surface with crawling. Crawls more strongly if fired soon after glazing.
Note the low (3.3:1) silica to alumina ratio. Cryolite seems to deepen the colour. Perhaps while outgassing, the fluorine content carries
iron from the clay to the glaze surface. Low-melt spodumene contributes phosphorus, which (as in Shaner Red) also helps the fire
colour. McNamee kaolin is a Georgia clay having a lovely blush of colour in the wood fire, probably because of its iron/titanium
content, which is also beneficial in Shinos; Helmer kaolin can be substituted.
H: Tony Clennell: Shino glazes must be made at least 24 hours before use. Screen them each day before using, this helps get the
thickness more even. Thickness has a huge impact on the look of CT glazes. We glaze everything that day, load and candle overnight.
Reduction begins at 012 just beginning to tip, then reduction with a climb in temperature ( the oxyprobe is just over 6) a higher reading
than 7 is creating smoke but I think is interfering with reduction. We climb to Cone 9 in medium reduction again at around oxyprobe
6- 6.5 and slow the kiln down at cone 9 for an hour soak till 10 is down.

A: Murrow Smooth Shino
B: Hank Murrow
C: 10R
E: 35 nepheline syenite
E: 32.2 feldspar,Custer
E: 18 spodumene,low-melt
E: 13 kaolin,McNamee
E: 1 silica
E: 0.8 cryolite
F: semimatte
H: Hank Murrow: a white satin where thick; red where thin. Best with early reduction and a long, concluding period of oxidation, or
an oxidation soak during cooling. Produces iridescence with oxides.

A: Murrow Black Beauty
B: Hank Murrow
C: 10
E: 47.36 stone,Cornwall
E: 21.05 dolomite
E: 10.53 kaolin
E: 10.53 silica
E: 10.53 barium carbonate
E: 5.26 iron oxide,red
F: gloss
H: Hank Murrow: a green black, shiny surface with crystals if cooled slowly in oxidation or reduction. Pour and/or trail under and over
either of the Shinos to produce a variety of colours and effects. When used under Murrow Shino, black shows in the crawl lines. When
used under Murrow Smooth Shino, a curdly blue-black colour results.

A: Bobbs Matte Black
B: June Perry
C: 10R
E: 68.5 feldspar,potash
E: 18.7 kaolin
E: 7 calcium carbonate
E: 3.1 iron oxide,red
E: 2.7 cobalt oxide
F: matte
H: June Perry: It has the most wonderful finish - more of semi matt leaning to satin rather than dry.

A: Price Honey Clear
B: Janet Price
C: 6
E: 20 dolomite
E: 20 frit,Ferro 3134
E: 20 spodumene
E: 20 ball clay,OM-4
E: 20 silica
E: 5 iron oxide,red
E: 3 manganese dioxide
E: 2 Bentonite
H: Janet Price: The glaze has tiny bubbles, sometimes a sort of tea-dust effect, also tends to have soft brown speckles, But it is a lovely
honey colour and does show texture.
H: Ron Roy: This glaze is a little short of silica - adding more silica would make it more durable.

A: Krakowski BB Clear
B: Lili Krakowski
C: 6
E: 66.7 frit,Ferro 3124
E: 24.3 silica
E: 6.9 ball clay,OM-4
E: 2.1 Bentonite
F: gloss
H: Lili Krakowski: have used this for many years on many clays, it always is pleasant and represents the colours of slips underneath
very well.

A: Krakowski Chafee Woo Clear
B: same oxides as Chafee Woo Transparent
B: Lili Krakowski
C: 6
E: 33.3 nepheline syenite
E: 38.2 silica
E: 8.8 kaolin,EPK
H: Lili Krakowski: turned out well in my test.

A: Honey Clear
B: Donna Kat
B: similar oxides to Yellow Brown Opal and Brown Opal
C: 6
E: 30 spodumene
E: 20 silica
E: 14 borate,Gerstley
E: 13 talc
E: 7 dolomite
E: 6 rutile
E: 5 kaolin,EPK
E: 2 Bentonite
H: Donna Kat: This glaze can run - test to see what works for you. Over Toby/Randy Red it gives a caramel gold colour. It does really
lovely things over Floating blue and Raspberry as well as with other glazes. It fits Standard Ceramic clay 112 (same as 225) and
everything else that has come from there as far as I know (the studio has gone through quite a number of different clays and has not
had a problem with it).

A: Clarke Turquoise
B: Chris Clarke
B: similar oxides to Clausen Snowflake
C: 6
E: 35 feldspar,G-200
E: 16 silica
E: 17 zinc oxide
E: 12 ball clay
E: 20 Wollastonite
E: 3 copper carbonate
E: 2 rutile
E: 1 zirconia
F: gloss
G: runs
H: Mayssan Shora Farra: I like it a lot, runny with a lot of variations so it works great for inside of pots.
H: Ron Roy: this glaze is not durable and will leach copper into acidic food - short of silica and alumina. Best not to use it as a liner on
functional ware.

A: Black Mountain Turquoise
B: Jennifer Boyer
C: 10
E: 40 feldspar,F-4
E: 20 talc
E: 20 silica
E: 10 calcium carbonate
E: 10 kaolin,EPK
E: 1 chrome oxide
E: 0.5 cobalt carbonate
F: semigloss
H: Jennifer Boyer: a nice reliable semi gloss.

A: GB Turquoise
B: Autumn Downey
C: 5-6
E: 42 feldspar,Custer
E: 23 silica
E: 17 borate,Gerstley
E: 8 zinc oxide
E: 4 talc
E: 3 calcium carbonate
E: 3 ball clay
E: 3 copper carbonate
F: gloss
H: Autumn Downey: used it for many years. It runs sometimes in combination with some other glazes or when double-dipped, and
usually looks a bit richer on red clay.

A: Jen Juicy Fruit
C: 6
E: 49 nepheline syenite
E: 10 kaolin,EPK
E: 12 silica
E: 11 calcium carbonate
E: 9 frit,Ferro 3134
E: 9 spodumene
F: semigloss
G: crazing
H: Alisa Clausen: a semi glossy, translucent glaze. Crazed where thickest.

A: Roy Fat White Base
B: Ron Roy
B: similar oxides to John Post 244 Base, Black Mountain Turquoise
C: 6
E: 35 feldspar,C-6
E: 26 silica
E: 19.5 dolomite
E: 13.5 kaolin,EPK
E: 5 frit,Ferro 3134
E: 1 talc
F: matte
H: Alisa Clausen: base glaze is waxy, covering, white.
With 3 rutile, smooth surface, slight crystals and opalescence where thickest.
With 8 titania, overall golden yellow
With 3 manganese dioxide and 3 rutile, overall yellow tan ground with pinkish white fur where thickest.
With 3 manganese dioxide and 3 titania, overall tan ground with whitish fur where thickest
With 3 manganese dioxide, light tan ground and pinkish where thickest

A: Lana Purple 1
B: Lana Wilson
C: 6
E: 37 feldspar,Custer
E: 23 silica
E: 14 talc
E: 12 frit,Ferro 3124
E: 6 dolomite
E: 3 zinc oxide
E: 3 cobalt carbonate
E: 2 Bentonite
F: semimatte
H: Alisa Clausen: semimatte, covering glaze. Overall magnesium violet in colour. Some pinholing where very thick. Purple 2 has a
nicer surface, smoother, brighter.

A: Lana Purple 2
C: 6
E: 31.8 silica
E: 27.2 feldspar,Custer
E: 11.7 calcium carbonate
E: 14 nepheline syenite
E: 8.2 frit,Ferro 3134
E: 4.8 tin dioxide
E: 3.5 lithium carbonate
E: 2 Bentonite
E: 1.6 magnesium carbonate
E: .6 cobalt carbonate
E: .2 chrome oxide
F: semimatte
H: Alisa Clausen: smooth purple to reddish mauve glaze. Subbing the Lithium with Strontium, Same colour but surface showed brush
strokes, a little stiffer.

A: Karen Starshine Aqua
B: same oxides as Clarke Turquoise, similar to Clausen Snowflake
C: 6
E: 35 feldspar,Custer
E: 20 Wollastonite
E: 17 zinc oxide
E: 16 silica
E: 12 ball clay,OM-4
E: 3 copper carbonate
E: 2 rutile
E: 1 zirconia
F: gloss
H: Alisa Clausen: glossy, light green to turquoise glaze. White fur overall under a translucent shell.
H: Dolita Dohrman: I use this glaze and love it. Absolutely beautiful and very reliable. Fast fired you will not get the furry effect but a
nice, smooth gloss. I like it slow fired too. Looks awesome on a red stoneware or brown clay.

A: Buck Sea Green 2
B: Tom Buck
B: similar oxides to Chinese Blue Green
C: 6
E: 35 feldspar,G-200
E: 22 Wollastonite
E: 19 silica
E: 12 ball clay,OM-4
E: 12 zinc oxide
E: 2 copper carbonate
E: 2 Bentonite
E: 1 rutile
F: gloss
H: Alisa Clausen: gloss, light green to turquoise glaze. Many tiny white crystals under the glossy shell overall.
H: Dolita Dohrman: I use this often in my studio. Tom gave me this glaze the year of NCECA in Indianapolis. I slow cool it and will
often get shadows in the glaze which looks great. Can form blue crystals where it pools but is an overall soft green.

A: Leach Clear
C: 6
E: 25 feldspar,Custer
E: 25 calcium carbonate
E: 25 silica
E: 25 kaolin,calcined
E: 15 frit,Ferro 3124
F: gloss
H: Alisa Clausen: gloss, translucent glaze with tiny bubbles under the surface.

A: Post Calcium Matte
B: John Post
C: 6
E: 32.5 nepheline syenite
E: 30.2 ball clay,OM-4
E: 16.3 Wollastonite
E: 10.4 silica
E: 6 iron oxide,red
E: 5.7 frit,Ferro 3134
E: 4.9 calcium carbonate
E: 3.5 titanium dioxide
F: semimatte
H: Alisa Clausen: semimatte, covering glaze. Medium brown overall, slightly dry.

A: Martens Ultra Clear 2
B: Tony Martens
C: 6
E: 30 frit,Johnson Matthey 169
E: 25 kaolin,EPK
E: 20 feldspar,C-6
E: 15 silica
E: 10 Wollastonite
F: gloss
H: Alisa Clausen: Glossy, very translucent glaze. Try with Frit 3134 in North America.

A: Berry Rust 2
B: John Post, Carol Tripp, Craig Martell
C: 6
E: 27.3 silica
E: 18.2 kaolin,EPK
E: 18.2 nepheline syenite
E: 9.1 dolomite
E: 9.1 borate,Gerstley
E: 9.1 talc
E: 9.1 ash,bone
E: 9.1 iron oxide,red
F: semigloss
H: Alisa Clausen: semigloss, smooth glaze, dark brown and rust ground with dark cream and greenish pooling on surfaces, overall.

A: Chafee Woo Transparent
B: same oxides as Krakowski Chafee Woo Clear
C: 6
E: 47.6 silica
E: 41.5 nepheline syenite
E: 11 kaolin,EPK
F: matte
H: Alisa Clausen: mat, white covering glaze. Looks and feels underfired. Has a slight sheen on surface.

A: Lana Metallic Black
B: Ron Roy, John Hesselberth, Lana Wilson
C: 6
E: 26 frit,Ferro 3134
E: 22 feldspar,Custer
E: 26 silica
E: 17 kaolin,EPK
E: 5 talc
E: 4 calcium carbonate
E: 5 iron oxide,red
E: 2 manganese dioxide
E: 2 cobalt oxide
E: 2 titanium dioxide
E: 1 chrome oxide
F: metallic
H: Alisa Clausen: glossy, black covering glaze. Looks black from a distance, but has a lot of white fur when viewed close up. Use less
titania for a more even black.
H: John Hesselberth: leach tested, cobalt 0.03 mg/l, manganese <0.02, chromium <0.02

A: Rhodes Turquoise
C: 6
E: 45.5 feldspar,F-4
E: 20 silica
E: 13.7 frit,Ferro 3134
E: 8.3 calcium carbonate
E: 6 dolomite
E: 4 zinc oxide
E: 4 copper carbonate
E: 3 Bentonite
E: 2.5 kaolin,EPK
E: 2 cobalt carbonate
E: 2 zirconia
E: 2 rutile
F: gloss
H: Alisa Clausen: glossy glaze with a dark green ground. Surface has a shell of turquoise and blue variegation. Green turquoise where
pools.

A: Toshika Green
B: Frank Giorgini Handmade Tiles pg.138
C: 6
E: 34.5 feldspar,potash
E: 21.6 calcium carbonate
E: 17.2 stone,Cornwall
E: 13 kaolin,EPK
E: 10.3 zinc oxide
E: 1.7 Bentonite
E: 1.7 copper carbonate
F: semimatte
H: Diane Winters: breaks considerably from cool green to dark brown, depending on thickness and underlying texture.
H: John Hesselberth: You can suck the colour right out of it in 2 hours or less with a juicy slice of lemon. I use it to demonstrate how
unstable some of the glazes in the published literature are and how functional potters need to be careful with what they use. It makes a
great workshop demonstration.

A: Paul White
B: Donna Kat
C: 6
E: 43 feldspar,Custer
E: 15.7 borate,Gerstley
E: 12.1 silica
E: 12 calcium carbonate
E: 8.6 talc
E: 8.6 kaolin,EPK
E: 8.1 zirconia
H: Donna Kat: came out lovely

A: Variegated Green-Brown
B: Mike Bailey, David Hewitt
C: 8
E: 38 feldspar,potash
E: 16 dolomite
E: 14 silica
E: 13 calcium carbonate
E: 6 kaolin
E: 6 ball clay,TWVA
E: 5 iron oxide,red
E: 2 copper oxide,black
H: Steve Mills: we made and sold this at Bath Potters Supplies

A: Chrome Brown
B: Edouard Bastarache
C: 9-10R
E: 50 stone,Cornwall
E: 25 dolomite
E: 15 kaolin
E: 10 silica
E: 4 rutile
E: 2.75 chrome oxide
E: 1 Bentonite
F: semigloss
H: Edouard Bastarache: opaque, waxy, yellow brown becoming orange brown where thick.

A: Dolomite Green
B: Edouard Bastarache
B: similar oxides to Krakowski Cream
C: 9-10R
E: 44 silica
E: 20 dolomite
E: 16 nepheline syenite
E: 10 kaolin
E: 9 kaolin,calcined
E: 1 chrome oxide
E: 0.75 cobalt oxide
F: gloss
H: Edouard Bastarache: shiny, green, yellow where thin with less chrome-cobalt, bluish with more, rutile accentuates blue

A: Lepidolite Green Slip
B: Edouard Bastarache
C: 9-10R
E: 33 silica
E: 27 feldspar,lepidolite
E: 12 dolomite
E: 12 kaolin
E: 10 frit,Ferro 3134
E: 6 calcium carbonate
E: 4 rutile
E: 75 chrome oxide
E: 0.375 cobalt oxide
F: semigloss
H: Edouard Bastarache: dark blue-green, becomes black with more chrome-cobalt

A: Dolomite Blue
B: Edouard Bastarache
C: 9-10R
E: 50 feldspar,Custer
E: 20 dolomite
E: 10 nepheline syenite
E: 10 kaolin
E: 10 silica
E: 1 Bentonite
E: 1 cobalt oxide
F: gloss
H: Edouard Bastarache: blue to purple, darker purple with more cobalt

A: Cory Weird
B: Cory Levins
C: 9-10R
E: 32 nepheline syenite
E: 32 ash,bone
E: 18 kaolin
E: 13 talc
E: 3 calcium carbonate
E: 2 silica
F: semimatte
H: Hank Murrow: smooth, fatty oatmeal to white over stoneware or porcelain. Brush with Fe/Ru for iron red to orange, Fe for rich
brown, 2Fe/Co for blue-black, Ferric phosphate for iron red, and thinnish Co for soft blue. Designed by Cory to show just how much
bone ash could be used in a glaze.

A: Madden Blue
B: Sharry Madden
C: 9-11R
E: 24.39 feldspar,potash
E: 18.7 kaolin
E: 16.26 borate,Gerstley
E: 12.2 dolomite
E: 28.46 silica
E: 4 cobalt carbonate
F: gloss
H: Sharry Madden: very shiny, clear, stable, no cracks to the naked eye. The test tile was frozen for 24 hours, then put into a tub of
boiling water, to test for cracks. This was done 3 times in a row, with no cracks.

A: Ranch Red
B: John Britt
C: 10
E: 45 feldspar,Custer
E: 20 silica
E: 13.5 iron oxide,red
E: 12 ash,bone
E: 8 kaolin,EPK
E: 8 talc
E: 7 calcium carbonate
F: gloss
H: Jennifer Boyer: this gets redder than any other I have tried

A: Adrian Red
B: James Freeman
C: 10
E: 48.7 feldspar,F-4
E: 21.6 silica
E: 10.8 iron oxide,red
E: 9.9 ash,bone
E: 6.3 kaolin,EPK
E: 6.3 talc
E: 7.2 calcium carbonate
F: gloss
H: James Freeman: a wonderfully bright persimmon colour in oxidation but puppy-poop brown in reduction. Gets very hot in a
microwave.
H: June Perry: tried and true saturated iron red. Best in a light to medium reduction, can go more iron spotty if the reduction is too
heavy.

A: Green Textured Matte
C: 10
E: 40 feldspar,F-4
E: 20 kaolin,EPK
E: 20 talc
E: 20 dolomite
E: 1 cobalt oxide
E: 1 chrome oxide
E: 1 rutile
F: pitted
G: crazing
H: Sam Cuttell: sang to me as I unloaded and for several hours afterwards. Deep turquoise green satin. Very opaque. No texture - but
some pitting. Might be useful for sculpture.

A: Waxy Turquoise Green
B: similar oxides to Pike Oatmeal
C: 10
E: 40.59 feldspar,Custer
E: 19.8 silica
E: 14.85 talc
E: 11.88 borate,Gerstley
E: 6.93 dolomite
E: 4.95 kaolin,EPK
E: .5 chrome oxide
E: .5 cobalt oxide
F: waxy
G: crazing
H: Sam Cuttell: satin finish, intense opaque colour, ugly green where thin. This glaze sings for hours!

A. Henderson Teal Blue Turquoise
C: 10
E: 39.05 feldspar,potash
E: 29.33 silica
E: 12.92 dolomite
E: 9.42 kaolin,EPK
E: 5.79 borate,Gerstley
E: 2.36 magnesium carbonate
E: 1.13 zinc oxide
E: .5 cobalt oxide
E: .5 chrome oxide
F: gloss
H: Sam Cuttell: Similar to Floating Blue, blue-turquoise mottled gloss. overlaps do not show, no runs, great opaque coverage, nice
depth.

A: Perry Clear Buttery Matte
B: June Perry
C: 10
E: 85 stone,Cornwall
E: 10 calcium carbonate
E: 5 magnesium carbonate
F: matte
H: June Perry: a wonderful, buttery smooth clear glaze, as matt as you can probably get for a clear. Unless you put opacifiers in it, it
should stay transparent with the additions of most colorants.

A: Salvation Glaze
B: Tim Eberhardt
C: 10
E: 27 feldspar,Custer
E: 25.2 silica
E: 19 talc
E: 12 borate,Gerstley
E: 8.8 dolomite
E: 7.5 ball clay,OM-4
E: 3 cobalt carbonate
H: Tim Eberhardt: I have used it as a base and as a salvation treatment for work that comes through the glaze fire with less than
satisfactory results for 5 years with no problems. Take the cobalt out and you get a satiny white glaze that you can add stains and
oxides to in order to get a palette of colours. The hotter you fire the less it will have the crystaly look and the bluer the glaze will
become. The cooler, the more purple and pink you will see. If you use this over previously fired pieces, what is underneath will affect
the outcome somewhat. I spray a couple of coats over pots I think require salvation. It always works miracles. Increase the borate to 21
for cone 6.
H: Ron Roy: way short of alumina so it is not going to be durable - best not to use it as a liner. Because it is short of alumina it may be
runny. The expansion is a bit on the low side so adding a low expansion material like zirconia could be risky.
H: Steve Slatin: because this is magnesium rich, low in alumina and high in silica, it will react with the underlying glaze and not just
provide a new layer of effects (granted, a refiring with a second coat of glaze always does this to some extent). The effects will include
new colour effects because magnesium-rich glazes often have different colour effects from Na/K based glazes, and provide a more
varied effect as the lower levels of the glaze surface will include mostly the original colouration and the top layer, rich in Mg, will
include the other colouration, and there may be crystalline effects because of the extremely high Si:Al ratio of the salvation treatment,
and there may be internal refraction because of the difference in glass characteristics between the already-established normal
flux/silica-ratio glass on the pot surface vs the extra-high ratio salvation surface lying on top of it. Why doesnt it run off the pot? My
guess here is that Eberhardt mixes it much as he mixes his regular glaze, and then brushes or dips a much thinner layer of the salvation
onto the already glazed pot than he would use if it were a base glaze (which is easy enough -- its tough to put a thick layer over a
glazed surface). This thin layer when fired is sufficient to create effects but not so thick as to run all over.

A: Michigan Blue
B: David Hendley
B: similar oxides to Iron Blue Water
C: 10
E: 44 feldspar,Custer
E: 26 clay,Redart
E: 14 calcium carbonate
E: 10 silica
E: 4 ash,bone
E: 2 talc
E: 0.7 cobalt carbonate
H: David Hendley: a dark blue without the harsh qualities of many cobalt blues. The expansion is on the high side so it may craze.

A: Grass Green
C: 10
E: 33.3 silica
E: 27.8 calcium carbonate
E: 27.8 feldspar,Custer
E: 11.1 kaolin,EPK
E: 3.3 chrome oxide
E: 1.1 cobalt oxide
F: semigloss
H: Sam Cuttell: green-teal medium gloss, better where thicker. Very intense colour - but no depth.

A: Persimmon Blue Brown
B: Jim Connell
C: 10R
E: 84 feldspar,G-200
E: 16.8 silica
E: 16.8 calcium carbonate
E: 3.6 rutile
E: 3.6 Bentonite
E: 2.4 iron oxide,red
E: 0.6 cobalt carbonate
F: gloss
H: Jim Connell: shiny and breaks brown to blue. My students keep it rather thick in the bucket for the desired blue and it does not
seem to run very much at all. I have had a problem with this glaze settling in the bottom of the bucket if not stirred a lot. If it does
settle it not only is hard to get back into solution but it does not seem to fire the same. Works well with a lot of other glazes.

A: Oatmeal Reduction
B: Annie Williquer
C: 10R
E: 49 feldspar,potash
E: 20 kaolin,EPK
E: 19 dolomite
E: 8 zirconia
E: 4 calcium carbonate
E: 4 tin dioxide
E: 2 ochre
H: Marilyn MFA: apply over a clay body that spots. Thicker applications give a lighter ochre colour and thinner applications give
darker rusty brown shades. This glaze breaks darker over textures. Do not mix up more than you can use over a period of a month or
two because the results seem to alter somewhat as the glaze ages a bit. The glaze must be fired in a medium to a heavy reduction to get
the results I want.

A: Nagamoto Teat
C: 10R
E: 52 feldspar,G-200
E: 15.75 strontium carbonate
E: 10 kaolin,EPK
E: 9 calcium carbonate
E: 8 zinc oxide
E: 3 copper carbonate
F: matte
G: running
H: Sam Cuttell: ran off pot where thick, open crystalline areas (read non-functional surface), matte black breaking to pale green where
thin.

A: Smith Spodumene White Orange
B: Dianna Rose Downs
B: similar oxides to Turner Beauty
C: 10R
E: 30 feldspar,Custer
E: 25 kaolin,EPK
E: 22 dolomite
E: 20 spodumene
E: 5 tin dioxide
E: 3 calcium carbonate
F: semimatte
H: Dianna Rose Downs: as it gets thicker, it turns a fat white with orange to brown spots, the thinner the glaze, the fewer spots.

A: Shaner Red
B: June Perry
C: 10R
E: 47 feldspar,Custer
E: 22 kaolin,EPK
E: 19 calcium carbonate
E: 9 ash,bone
E: 4 iron oxide,red
E: 3 talc
H: June Perry: tried and true saturated iron red. Best in a light to medium reduction, can go more iron spotty if the reduction is too
heavy.

A: Perry Iron Red
B: June Perry
C: 10R
E: 54 feldspar,F-4
E: 29 silica
E: 13 ash,bone
E: 8 kaolin
E: 8 magnesium carbonate
E: 8 iron oxide,red
H: June Perry: tried and true saturated iron red. Best in a light to medium reduction, can go more iron spotty if the reduction is too
heavy.

A: Iron Red Plum
B: Elizabeth Fusaro
C: 10R
E: 44.2 stone,Cornwall
E: 27.5 silica
E: 13.6 kaolin,EPK
E: 11.5 iron oxide,red
E: 11.2 calcium carbonate
E: 4.5 dolomite
E: 2 Bentonite
E: 1 zinc oxide
F: semimatte
H: Elizabeth Fusaro: beautiful deep brick red satiny

A: Tenmoku Mirror Black
C: 10R
E: 85 feldspar,potash
E: 20 silica
E: 15 calcium carbonate
E: 10 kaolin
E: 10 iron oxide,red
F: gloss
H: Mel Jacobson: this glaze was found written on the side of plastic pail I bought at an auction in 1965. As with all mirror blacks the
thickness of the glaze, the quality of the reduction, and the care in cooling the kiln will play a dramatic influence on the final product.
Breaking to rust is the result of thin areas. If you wish to use this as iron red just apply a thin coat. As most veteran potters will verify:
make 2000 pots, apply mirror black glaze, and fire the kiln 73 times, you will learn to use it.

A: Perry Reduction Base
B: June Perry
B: similar oxides to Reduction Oxblood Red and Reduction Oxblood
C: 10R
E: 67 feldspar,F-4
E: 14 silica
E: 9 borate,Gerstley
E: 5 ash,bone
E: 5 calcium carbonate
H: June Perry: I use this base a lot, it gives great colour response. It is reactive with copper so you can get nice flashing with just a hint
to copper brushwork on a pot on the celadon colours. With 5 zinc oxide, the colours you get will depend a lot on your clay body and
your firing schedule. With 2 red iron oxide plus 0.5 chrome oxide plus 0.25 cobalt oxide, dark speckled green on stoneware, hunter on
porcelain. With 5 tin dioxide plus 1 red iron oxide plus 1 chrome oxide plus 0.25 cobalt oxide, a beautiful green. With 2 red iron oxide
plus 2 black copper oxide, a warm, speckled, reddish brown. With 2 black iron oxide, a good blue celadon. If you want it bluer you can
do a variation with 1-2% black iron oxide and .25% cobalt carbonate.

A: Lane Shiny Green
B: Peter Lane, Studio Porcelain
C: 10R
E: 60 feldspar,potash
E: 25 silica
E: 15 calcium carbonate
E: 5 kaolin
E: 5 barium carbonate
F: gloss
H: Peggy Heer: add 5% yellow ochre if you want a deeper green, 10% red iron oxide for a tenmoku. On stoneware it is a bit bland for
my tastes but on porcelain its a beauty.

A: Pablo Red
C: 10R
E: 44.2 feldspar,Custer
E: 22.1 silica
E: 11.6 borate,Gerstley
E: 8.4 calcium carbonate
E: 6.3 dolomite
E: 4.2 zinc oxide
E: 3.2 kaolin,EPK
E: 3 tin dioxide
E: 1.5 copper carbonate
E: 0.5 iron oxide,red
H: Rod Wuetherick: Copper red glazes are by nature finicky. The nicest copper reds have very low amounts of copper in them, usually
less than 1% added to the batch. Tin will help stabilize the copper a bit, but this is not a silver bullet by any means. If you start going
over 1% the copper reds are livery in appearance and not personally my favourite but some like it. Copper reds are really all about the
firing process, moderate reduction not heavy; 5.5 - 6.0 on the oxy-probe. I have found the zinc to be useless and think it is an old
school glaze addition in reduction firings. According to most sources it just volatizes, and how much it takes part in the melt is of
constant debate. I can tell you from my experience that I have never noticed a difference in high fire reduction glazes if you leave out
the zinc. Fire almost as fast as you can, extended firings tend to show your copper where the stack is and it finds its way up there
without further encouragement.

A: Woo Blue Brown
B: Robert or Marie Woo Ceramics Monthly (1975)
C: 10R
E: 42 feldspar,Kingman
E: 27 silica
E: 18 calcium carbonate
E: 13 ball clay
E: 4 iron oxide,red
E: 4 rutile
E: 2 Bentonite
F: gloss
H: Richard Aerni: it goes that iron/rutile blue where the application is of medium thickness, and where thinner breaks brown. I used it
as a base glaze which was then wax resisted and the pot was then dipped into a glossy white, which overlay it and broke it up a bit.
H: Barb Bihler: Apply medium to slightly thicker. This glaze goes brown if very thin, orangey-brown if thin, blue breaking to brown if
medium, gets bright purplish overtones and very fat looking if thick. Runs badly if very thick.
H: Dave Eitel: found it very temperamental

A: Vitrox White
B: Bob Chance
C: 10R
E: 50 clay,Vitrox
E: 50 Colemanite
E: 15 zirconia
F: semimatte
H: Bob Chance: white to gray and very accepting of overglaze oxides. Has a wide firing range, satin surface, will not run unless very
thick.
H: Daniel Kirkland: with 3.5 copper carbonate, an intense copper red luster when fired as for Kirkland Copper Red.

A: Vitrox Red
B: Daniel Kirkland
C: 10R
E: 115 Vitrox White
E: 3.5 copper carbonate
H: Daniel Kirkland: an intense copper red luster when fired as for Kirkland Copper Red.

A: Kirkland Copper Red
B: Daniel Kirkland
C: 10R
E: 78.7 feldspar,Custer
E: 12.2 calcium carbonate
E: 9.1 borate,Gerstley
E: 2 Bentonite
E: 1 copper carbonate
E: 1 tin dioxide
H: Daniel Kirkland: fire either in oxidation or in neutral, reduce when the kiln is cooling. From cone 10, close the damper, let the kiln
cool to a very dull red colour (cone 018 to 016), then turn the gas back on and reduce heavily for anywhere between 20 minutes and 1
hour. Consistently comes out as a very rich deep red.
H: Karin Givon: I start the reduction at cone 011, reduce it for about half an hour or so, then keep the kiln in light reduction for the rest
of the fire, tried many recipes and they all work pretty well with this schedule.
H: Wyndham Dennison: My reduction starts at 015 where I have the six venturi burners paps open to one turn open and the damper
closed to give a wisp of smoke out the bottom peek of my downdraft. The top reaches reduction first then the bottom 30 min later. I
balance the damper to keep the back pressure where a lick of flame is coming out the bottom peek. After about 3 hr I open the PAPS
another half turn then as the kiln heats up to cone 6 I open the PAPS another half turn and open the damper so as to have the mim back
pressure but still some. As my kiln heats it creates its own fire storm and the draft starts running hard at about 2000F so I have to
watch and maybe push in the damper to control the ox/reduc ratio. If I reduce too heavily then I get a muddy liver colored red, but in
this kiln, good bright reds come from a lt to neutral from cone 6 to cone 10 in about 9-10 hr for a about a 45 cu ft stack.

A: Kirkland Plum
B: Daniel Kirkland derived from Coleman Purple
C: 10R
E: 50 feldspar,Custer
E: 25 silica
E: 8 calcium carbonate
E: 5 dolomite
E: 5 borate,Gerstley
E: 5 barium carbonate
E: 5 copper carbonate
E: 2 zinc oxide
H: Daniel Kirkland: a rich deep plum red luster when fired as for Kirkland Copper Red. If fired in a typical reduction firing without
reducing in the cooling phase, a rather unattractive green.

A: Hamada Green
B: Dana Henson
C: 10R
E: 53 feldspar,Custer
E: 21 barium carbonate
E: 9 calcium carbonate
E: 9 zinc oxide
E: 3 copper carbonate
E: 2.5 iron oxide,red
E: 2 rutile
E: 2 Bentonite
E: 1 ball clay,OM-4
G: potentially toxic
H: Dana Henson: a good strong, deep green.

A: Shaner Gold
B: Ceramics Monthly Feb.1980
C: 10R
E: 49.7 feldspar,Custer
E: 23.6 kaolin
E: 20.1 calcium carbonate
E: 3.8 talc
E: 3.8 iron oxide,yellow
E: 3.8 rutile
E: 2.8 ash,bone
F: matte
H: Vaughn Stewart: needs good reduction, but not too hot. Medium thick.
H: Sam Cuttell: I have used this several times - nice easy-on-the-eyes yellow.
H: Ron Roy: it is short of silica - as are most matte glazes. If you are intending it for use with food you should check the durability. It
is going to craze on just about any body.

A: Seacrest Tenmoku
C: 10R
E: 54 feldspar,Custer
E: 22.5 silica
E: 13 calcium carbonate
E: 6 kaolin
E: 5 iron oxide,red
E: 2.5 barium carbonate
E: 2.5 zinc oxide
H: David Hendley: a food safe durable glaze that has held up on dishes I have been using for 20 years. I have a feeling that the glaze
would be just as good without either barium or zinc, especially since there is such a small amount of each.
H: Craig Martell: tenmokus are more expressive than glazes that are loaded with metals to make them black. Tenmokus are fine for
food use too, as you stated. Warren Mackenzie told me once that he preferred tenmokus above all other glazes for dinner plates
because food looked so good on this type of glaze. I sold some black tenmoku plates to a chef at the Park City Art Festival some time
back and he said the same thing.

A: Harper Grey
B: Brian Harper
C: 10R
E: 50 feldspar,Custer
E: 20 kaolin
E: 10 dolomite
E: 10 calcium carbonate
E: 10 silica
F: semimatte
H: Brian Harper: a really nice satiny grey that fit perfectly and did not run even where thick. I use a white stoneware throwing body
and fire it in an updraft cone 10 reduction, with a strong body reduction at 06 and a light/moderate reduction from 06 to 10.

A: Ray 3D Black
B: Hank Ray
C: 10R
E: 42.23 feldspar,F-4
E: 32.63 silica
E: 11.52 calcium carbonate
E: 6.72 kaolin,EPK
E: 6.14 iron oxide,red
E: 0.77 cobalt carbonate
F: gloss
H: Hank Ray: a glossy black breaking brown

A: Forest Green
B: variation of Cushing Amber Celedon
C: 10R
E: 36 slip,Sheffield
E: 22 feldspar,Custer
E: 14 Wollastonite
E: 14 silica
E: 8 calcium carbonate
E: 3 kaolin,EPK
E: 3 borate,Gerstley
E: 2 cobalt carbonate
E: 1 rutile
F: gloss
H: Ishee Hopper: very transparent and glossy, tends to run, I usually apply thinner at the bottom of my work.

A: Shaner Green Brown
B: Hannah Brehmer
C: 10R
E: 45.35 feldspar,potash
E: 21.51 kaolin,EPK
E: 20.91 calcium carbonate
E: 7.07 iron oxide,red
E: 3.44 talc
E: 1.72 ash,bone
F: semimatte
H: Hannah Brehmer: brown where thin, a wonderful mossy green-brown where thick.

A: Shaner Green
B: June Perry
C: 9-11R
E: 46.5 feldspar,Custer
E: 22.1 kaolin
E: 18.8 calcium carbonate
E: 9.1 ash,bone
E: 3.5 talc
E: 2.9 copper carbonate
F: semimatte
H: June Perry: can be pale to dark green or pink, dry matte to glossy.
H: Ellen Baker: a bit dull on white clays but picks up a nice almost jade-like depth on red clays.

A: Stuart Shino
B: Fergus Stuart
C: 10-15R
E: 64 nepheline syenite
E: 10 kaolin
E: 10 ball clay
E: 4 tin dioxide
E: 4 sodium chloride
E: 4 clay,Redart
H: Daniel Kirkland: has a lustrous sheen when fired as for Kirkland Copper Red. Any red clay works.

A: Perry Textured Blue Matte
B: June Perry
B: similar oxides to Blue Jean
C: 9-10R
E: 38.1 feldspar,Custer
E: 22.2 kaolin,EPK
E: 18 calcium carbonate
E: 16.2 silica
E: 4 titanium dioxide
E: 1.5 cobalt carbonate
F: semimatte
H: Dan Saultman: blue, with slight speckles if not sieved, buttery surface, I like it a lot, doesnt run at all, goes brown when thin, slight
green shades when thick.

A: Blue Jean
B: Lois Sharpe
B: similar oxides to Clemson Blue Green Satin Matte and Perry Textured Blue Matte
C: 10R
E: 40 feldspar,Custer
E: 22 calcium carbonate
E: 22 kaolin,EPK
E: 16 silica
E: 4.1 rutile
E: 1.5 cobalt carbonate
F: semimatte
H: Lois Sharpe: nice buttery feel, nice color, on porcelain looks like faded denim, on stoneware looks like new denim.