Cone 6 White Liner

Cone 6 White
I've been looking for a fritless cone 6 white glaze that can play well with the Mag Carb Crackle Glaze and looks great on a red body...

Nepheline Synetine 46.2
Gerstly Borate...........28
Silica.........................20.4
Kaolin.......................5.4
Bentonite...................1
add 5 Zarcopax

This one looks like a toasty marshmellow! 

Love it!!!

Cone 6 Oribe Green

32% Custer Feldspar
24% Whiting
24% Silica
12% EPK
8% Zinc Oxide
add
5% Copper carbonate

Cone 5-7

(ClayTimes May/ June 02, Pg. 59)

This is a beautiful transparent glossy Jade green glaze. Plan for a bit of vertical movement with this glaze, especially if applied thick. Prone to pin-holing is not soaked at the top of firing.
It works very well over a black slip design.

Cone 6 BoneMarrow Glaze

How's that for a name for a glaze combo, eh?

I don't know about all of you, but it still makes my head spin when I accidentally find out that my common studio glazes interact in a really unexpected ways... I've been living with these glazes for 2 years now, and I test for these things after all. But this glaze combo slipped through... until now.

This is my standard WhiteLiner over my Amber glaze.

I haven't made this combo jump through any hoops yet, but it seems to be acting like a cone 6 OilSpot glaze. Small Amber bubbles are floating through the WhiteLiner and healing over.

Happy Dance!

Cone 6 Amber

30.27 Custer Feldspar
25.65 Whiting
36.53 Silica (325 mesh)
7.55 EPK
add
11.66 Red Iron Oxide

This is a beautiful warm translucent glossy amber glaze plays a versitel role in my studios Cone 6 glaze line-up. It's a very stable glaze up into Cone 7 and still It does well in any cool spots in the kiln. It also plays well with other glazes (expecally my white liner) and it's translucent nature is best put to good use with hakime, stamping, straffito, slips, ect... the iron oxide in the glaze really shows off any texture on the clays surface.

Very stable from cone 5 to cone 7.


This recipe came from ClayTimes May/June 02, page 59

Cone 6 NutMeg

Dolomite 23.3%
Spodumene 23.3%
Ferro Frit 3134 6.8%
OM4 (Kentucky ball clay) 23.3%
Silica (325 mesh) 23.3%

Add
Red Iron Oxide 1.07%
Yellow Ocher 3.24%
Tin Oxide 4.85%
Bentonite 1.94%

I've been mixing this recipe up since the fall 2005. It's a nifty little recipe I pulled from a February 2003 Ceramics monthly article. I was in the midst of a traumatic shift from firing large reduction cone 10 kilns to firing a small cone six electric. I liked warm and toasty asymmetrical surfaces and I knew that cone 10 reduction was my friend. For all the hype, I wasn't pleased with the glaze results coming out of my old electric and I needed a glaze that I could depend on and more importantly, live with… (cuz if it don't sell ya gotta live with it!)

This was the glaze I needed to get me going. It looks good. It's stable. It's dependable. I've never had to scrape a kiln shelf because of it, and its fun!

Yep… it's fun.

Used alone it's ok, but when you start mixing it in different ratios with the Satin White glaze, it deepens the pallet. You can click over to the Satin White glaze recipe for more information. It seems to mature fairly early giving a dry surface at cone 5 and a glassy surface at cone 7. I've done quite a bit of playing with the mixes and temps and I've settled into a 95%nutmeg / 5%satin white mix applied really thin. This creates a nice warm toasty flashing at the edges of application and works well with slips. I'm firing in a cone 5 to cone 7 range so I'll stick this glaze in where ever I need to fill space in the kiln. Like I said… dependable.

New Sidebar Feature Links

Well it seems like a really good idea.

I've set up 2 hotlinks on my side bar to link to a menu posting that I use as a libraryed jumpsite to a whole lot of other postings.

One is my studio glazes. This will continue to be filled out as this moves along. It at least proves helpful when I can't find my recipe book.

The other is the Demo Library. This is worth checking out if you haven't had the time to dig through the past postings to see what's buried back there. I'll keep adding to it as we move forward so stay tuned....

Oh yeah... and any feed back REALLY helps!

Glossy Clear Liner

20 G-200 Feldspar
20 Ferro Frit 3134
15 Wollastonite
20 EPK
6 Talc
19 Silica

The sample picture is of an agateware with the clear over it.

This is the simple Cone 6 clear liner base recipe that I've been using in my studio since 2005.

Very stable from cone 5 to cone 7.

To create my creamy white liner, I add 4% Tin Oxide.

Variation of Blue Hares Fur

47.3 Nepheine Syenite
27 Gerstley Borate

20.3 Silica 325

5.4 EPK

2 Red iron Oxide

1 Cobalt Oxide (altough I sometimesuse cobalt Carb)

4 rutile

2 bentonite

This is a very versatile glossy blue cone 6 glaze that I've been using in my studio since 2006. It's very stable by itself and interacts well with my most of my other glazes, and more inportantly, it reacts beautifully with my standard white liner glaze creating wonderful optics breaking at the rim.

When applied thick, it produces an amazingly rich blue hares fur.

When applied thinly it produces a transparent iron blue.

This glaze begins to glass up at bisque temps, but can be taken to cone 7 quite well.

I'm most commonly using it to create my GhostBlue glaze for cones 5 to 7. The GhostBlue is a combination of my studio clear glaze with a thin application of Hares Fur over it to produce a transparent rich blue glaze that really works well with my cobalt slips.

Our Studio's Cone 6 Glazes

Here's my studio's recipe book for the cone 6 glazes that I use.

I'm a very firm believer in sharing recipes. I also know it's how we use what we are given that determines the out come.

All of the listed recipes are hot-linked out to detailed postings through-out the blog.

Oribe Green

Clear Liner











Blue Hare's Fur

NutMeg

SDSU Texture & Crawl Glaze

Satin White (aka MoonCrater White)