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Do you have favorite glazes that you use often; and what are they?| July 10,2012

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What glazes do you use, how many, and where did you find them?


I am curious to know about your glazes. If you make your own glazes, can you tell me where you found the recipes?

School, friend, book, other? How did you choose your favorites? By color/surface?


I saw John Glick in a workshop recently and he said he uses more than forty glazes. Wow! Here at the University studio we have about 20 high temperature glazes,

and about the same number of low temp glazes, but no one person uses more than a few favorites! That was the impetus for my questions--


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I keep 15 glazes for my students. I used to keep a couple of glazes just for me, but I don't any more. I use about 6 of the glazes most often. They range from matte to very glossy, opaque to transparent, light to dark. Layered together I have more possible combinations than I'll ever use. My 'go to' top glaze is an opaque, matte rutile yellow that looks great on top of everything.

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My two favorites are

1. a matt glaze worked back to ^6 from ^10. It is a smooth matt texture excellent for functional work. It takes colorants well. I used it in ^6 reduction for decades and I am using it in ^6 oxidation too.


2. I was mixing a faux celadon about 10-12 years ago and made a mistake. I realized the mistake but had 10,000 grams of this glaze. It turned out to be a blue gray semi matt translucent glaze. It is a favorite for spraying over resist carved slip decoration. I added a jpg to my gallery with this glaze.







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I use between 15-18 glazes in my reduction cone 11 fires-about 4- 6 glazes with salt loads (interiors only)

I make all my own from scratch.

The ones I like best-

A green satin Matt at cone 11-satin matts feel buttery smooth and are not shiny like gloss glazes also not dry like a true matt glaze-satins are harder to get and when they are working well they look super. Cobalt carb and green copper carb for colorants-the right talc is key for the satin matt look-satin matts are very fussy and the wrong talc will shine the matt right out. I will use serria light for this one when my-Older not produced talcs are gone they are running low like desert talk or C30 talc

I'm on my last bags of each and only use them for seafoam green The HT100 talk works but had asbestos in it and was taken off market

Mine is called seafoam green and its a modified school glaze from 35 years ago-


Another is a black that is super with a large firing range cone 8-12-Its gun metal when cool and shiny black when hot

I like it by itself with white or red on it or as an underglaze or overglaze on just about any glaze. I use it the most as an underglaze.

Its a simple simple 3 ingredient glaze, cobalt Oxide ,nepheline syenite and alberta slip (I used to use albany slip)

I got this from a friend long time ago-I call it Zacks black-its pricy to make and we use it in 15 gallon batches-lip dip and brushing

Its a solid dinnerware glaze. You will not find a better black I feel as most blacks come from over saturation of colorants which can cause problems

Heres the recipe

Alberta slip-660

Neph sy-300

Cobalt Oxide-35

total 995


My other well used is a saturated iron glaze called red/black which can go red-brown or almost black-it usually is redish brown

Its a high Iron glaze I mixed and added mels orange (high iron and high rutile)to by mistake. I like it so much I always make it that way now.

Late night and that enough for now.I have used these glazed for 35 years and know them well now.


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I have 2 new favorites! I don't mix my own glazes, yet, so these are commercial, pre-mixed cone 6 glazes. Love Duncan's Renaissance Glaze RG714 Pistachio Nut. Has a soft green color with nice brown breaks. Perfect for a muted foliage look. I like to use RG716 Henna in combination with it as it is a wonderful rich brown with dark tones and doesn't require any texture to provide a delicious variety of shades. They coordinate very well together.



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Guest JBaymore

Been using about the same 7 glazes for about 33 years now. Firing with wood, various cones between 9 and 14 depending on the kiln chamber. I'm just beginning to feel like I have a handle on them....... but then something STILL occasionally happens to keep me humble ;) .


Shino, tenmoku, kaki, oribe, chun, dark runny ash, light runny granite/ash, spodumene matt.


Added 2 new ones a year ago...... a dark heavily crazed celadon and a Hagi-like one. Still wondering if they'll stay.


One of my standbys is basically Hamada Shoji's nuka glaze adapted to more western available materials (except for the rice husk ash):


33.3% black rice husk ash


33.3% washed mixed hardwood wood ash


29.0% Custer feldspar


4.3% 325 mesh Flint


(Seived at 40 mesh)






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I have 3 favorites, one which is quite a challenge. That one is Val Cushing's Light Green, a matte which ranges from light green to olive to bronze, depending on the thickness and texture of the clay surface.


Second one is a Gun Metal Satin Matte I have used for 20 years. It contains Manganese Dioxide, so it's only for decorative surfaces. At its thickest, it is a beautiful dark grey, almost black. Brushed over a white slip or engobe it shows up as a midnight blue. Both of those are great on textured surfaces.


The third is a Satin/glossy refrigerator white which is very forgiving, and heals over wonderfully, and takes color beautifully, whether mason stains or oxices. My favorite rendition is a rutile/copper light aqua with granular ilmenite. Works well over Cushing's Lt Green

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