My main pallate of glazes has been just about constant for about 35 years now....give or take a raw material change or two. They have been selected to reflect the quiet aesthetic I wish to express in my work, born of a love for the surface of the southwestern desert landscapes of America that I explored as a kid, combined with the influences of the Japanese wabi approach to Chado.
I know this following will sound like a bunch of BS to many..... but I feel that I am JUST beginning to master their use. Had I flitted around with continuing to try glaze after glaze after glaze..... I feel it would have restricted my development rather than expand on it. But I have to say that I did do a LOT of glaze testing early on in my studies before I kind of 'settled' on the following listing.
Doing this list from memory....... might miss one ('senior moment')........ a tenmoku black, a kaki (persimmon red),a fake nuka (semi-transparent white), a real nuka (very expensive due to imported rice husk ash), an Oribe-type transparent green, an opal-ish chun, a local materials wood ash/granite glaze (varies in color with application/firing), a wood ash gray Karatsu-type glaze, a wood ash runny gray-green glaze, a deep crackle that can be either a icy semi-opaque clear or a celadon, and two main American-style shinos.
I'm still experimenting (past two years or so) with adding a very new shino and a black gloss combo..... I still don't "own" it. I have a lease/purchase option on it at the moment .
Also still working on developing a Hagi-type glaze that works well....it constantly defeats me. Such a simple glaze... that is SO difficult to get right.
I just added a pretty successful hare's fur tenmoku that I think I'll be keeping.
HUM........ thinking about that.... maybe I'm having an "old age crisis" with these sudden new changes......... adding in the potter's equivalent of the "little red sports car". I know that I am also toying with adding a small anagama to my kilns.
To this above I can also add red, green, yellow, and blue overglaze enamels. And three different types of gold lusters.
Because I fire a multi-chamber wood kiln (noborigama), I can vary the atmosphere and end-point cone a lot easily. So the above gives me an unbeliveable range of possibilities. Already too many really. Also add to the above the impacts of kiln placement and fly ash and flashing.
Then when I work in Japan....... I have a a whole different set of possibilities.