Min

Do you think there is a link between the Veegum  and the bone ash or TCP? (Veegum being magnesium aluminum silicate) Interesting read here https://www.researchgate.net/figure/Concentrations-of-phosphorus-pentoxide-and-magnesia-in-Roman-emerald-green_fig1_277089354 possibly linking the two with a green colour.

I wasn't successful getting the gold to reduce with just pine resin, if you buy Greg Daly's book "lustre", he details making it from elemental sulfur and gold chloride. This works well.  Commercial lustres using pine resin thinned with toluene use a different gold salt, I'm guessing that's the reason they work.  I think the compound is a chlorohexanoic salt of gold. 
You'll also need a bit of bismuth in there to act as a flux bridging the gold and glaze.  
I had some luck making a silver lustre by making silver soap.  Silver decanoate.  But it was difficult to dissolve in almost everything so it was a pain to apply.  Was conductive though and I made a few touch lamps using it.  Also had success doing a similar thing with copper.

This thread is a continuation of this one. Some comments regarding the green tinge on  page 2 of that thread. 
 

What are you thinking is causing the green? Chromium or copper? Have you tried one of the recipes that does produce the green tinge with distilled water to see if it still goes green? 

Same make of splash pan as your wheel available here: https://www.amazon.com/dp/B0D1K8QWKD?ref_=ast_sto_dp Looks like it has just become available.
Is this the correct size? I’m super impressed you could throw a 12 x 16” lidded pot on one of those small wheels.

Nope, trivalent chrome does not convert to hexavalent chrome in glazes.Re zinc chromate, according to Hansen "Chrome in zinc glazes tends to form the stable crystalline compound, zinc chromate (ZnCr2O4). which is brown." from this link. 
I plunked your glaze recipe into the glaze calc program I use but I'm not confident in the accuracy of it since specific types of potash feldspar, talc and china clay aren't mentioned in your recipe. Using generic analysis the formula is on the low side for silica though. I would do a lemon slice test on it and see if the colour changes., also keep a test piece in the dishwasher, if you use one, for a few months then compare that to an unwashed piece.What is really important is to have a stable base to prevent leaching. With colouring oxides, aka transition metals, less is better.
 

Let's not throw the baby out with the bathwater here. The form of chrome used makes all the difference in the world in regards to toxicity.
Potters use chrome oxide, it is insoluble in water and gets bound in the glaze matrix in a balance glaze. It is volatile in the kiln so it can cause a pink blush on tin white glazes. Wear gloves if you get contact dermatitis with it. (it's a good idea to wear gloves whenever handling raw materials and glaze slurries to avoid skin reactions)
We do not use the exceedingly dangerous hexavalent chromium in ceramics. Iron chromate is toxic, stay away from using it.
Zinc oxide fumes from kiln firing shouldn't be breathed in, zinc can become volatile above around 850C/1560F and like all the materials we use in glazes practice good studio hygiene and wear a respirator while handling dry materials. In a glaze it isn't a problem. 
Chrome + tin pinks and reds are perfectly safe, whether in a stain or from the oxides.
 
 
 

Trying to logic this through, I wonder if all or some of the dry clay in the magic water slip should be roasted first to remove some of the shrinkage of wet clay to dry. Blender some of the dry clay into a powder and roast that. (outside with a mask) I know there isn't much shrinkage from dry greenware through bisque temps but there is appreciable shrinkage from slip to dry. Bisque temp might be too hot causing sintering but roasting at 900-1000F could be something to try. Or a blend of unfired dry + roasted + paper pulp + magic water. I can see testing increasing amounts of sodium silicate amount also. 

If you want soda ash (or your soda ash is old and has absorbed moisture) bake it in the oven at 200F for an hour if it's a small amount and it will then be soda ash.
I've tried the magic water + slip + paper pulp, didn't work for me.  I think it makes a difference what type of crack it is though. 

Nope, trivalent chrome does not convert to hexavalent chrome in glazes.Re zinc chromate, according to Hansen "Chrome in zinc glazes tends to form the stable crystalline compound, zinc chromate (ZnCr2O4). which is brown." from this link. 
I plunked your glaze recipe into the glaze calc program I use but I'm not confident in the accuracy of it since specific types of potash feldspar, talc and china clay aren't mentioned in your recipe. Using generic analysis the formula is on the low side for silica though. I would do a lemon slice test on it and see if the colour changes., also keep a test piece in the dishwasher, if you use one, for a few months then compare that to an unwashed piece.What is really important is to have a stable base to prevent leaching. With colouring oxides, aka transition metals, less is better.
 

Let's not throw the baby out with the bathwater here. The form of chrome used makes all the difference in the world in regards to toxicity.
Potters use chrome oxide, it is insoluble in water and gets bound in the glaze matrix in a balance glaze. It is volatile in the kiln so it can cause a pink blush on tin white glazes. Wear gloves if you get contact dermatitis with it. (it's a good idea to wear gloves whenever handling raw materials and glaze slurries to avoid skin reactions)
We do not use the exceedingly dangerous hexavalent chromium in ceramics. Iron chromate is toxic, stay away from using it.
Zinc oxide fumes from kiln firing shouldn't be breathed in, zinc can become volatile above around 850C/1560F and like all the materials we use in glazes practice good studio hygiene and wear a respirator while handling dry materials. In a glaze it isn't a problem. 
Chrome + tin pinks and reds are perfectly safe, whether in a stain or from the oxides.
 
 
 

Just for fun, I made a few "unsophisticated" rattles a couple of years ago. I used different clay bodies for the shell and the inner beads, in  various combinations, like glazed or unglazed balls inside, the same size or mixed, small or large, a lot or a few--the container might be a grogged stoneware, a thin procelain, or  a high-iron red. The range of sounds are fascinating--from light and tingley to a drum-like heavyness. This one is afavorite, that I use to sit in on a music jam at a local community center--I have no musical talent whatsoever, but "playing" the rattle I can pull off.

My entire collection, from the early 80s to the present. Binder on the left holds my (pre-internet) tech sheets from many sources; the Nelson, Lawrence, Penland, Clark, & Rhodes are the bibles from back in my school days;  Pitelka and Branfman were added from recommendations here;  Seagrove, a gift from a friend; two (Beware & Road) from John Baymore of NHIA (who helped me get back intoi ceramics); one  (Surface) from Maureen Mills (NHIA & NH Potters Guild) and one, signed, from Marcia Selsor, previously on this forum.  How & why I got each book, what I learned and still refer to, and what they (the books & the people) mean in my life matter to me as much as the contents. Fun topic! 

If you want soda ash (or your soda ash is old and has absorbed moisture) bake it in the oven at 200F for an hour if it's a small amount and it will then be soda ash.
I've tried the magic water + slip + paper pulp, didn't work for me.  I think it makes a difference what type of crack it is though. 

Speedball pinks, purples and reds (plus some other colours) use a cadmium inclusion stain so they don’t have the fading that underglazes  with chrome tin stains do.

The zinc and chome are tied up in the glass matrix, if the glaze is stable.
If you still have concerns there is also the option to supply the chrome with a stain. This type of stain is a spinel stain, the chrome is bound with silica and is very stable. Stains are suspended in the glaze matrix, they don't dissolve.  I don't know what is available on your side of the pond, over here there is Mason  #6209. Then the glaze would have the zinc + iron which isn't an issue either. 
Might be okay with even less than that, same with the chrome. A couple progression tests would show you how much you could reduce both colourants.

Nope, trivalent chrome does not convert to hexavalent chrome in glazes.Re zinc chromate, according to Hansen "Chrome in zinc glazes tends to form the stable crystalline compound, zinc chromate (ZnCr2O4). which is brown." from this link. 
I plunked your glaze recipe into the glaze calc program I use but I'm not confident in the accuracy of it since specific types of potash feldspar, talc and china clay aren't mentioned in your recipe. Using generic analysis the formula is on the low side for silica though. I would do a lemon slice test on it and see if the colour changes., also keep a test piece in the dishwasher, if you use one, for a few months then compare that to an unwashed piece.What is really important is to have a stable base to prevent leaching. With colouring oxides, aka transition metals, less is better.
 

I've been using slip made with magic water and my dry claybody for years. I use a smooth white claybody and fire to cone 6. I think it makes a difference which claybody is being used, some are far more prone to handles etc popping off than others.
Magic water helps as the slip made with it is stickier than made with just water, it dries harder than plain slip and during the firing the extra sodium in the slip helps flux the slip a little more than plain slip making a stronger join post firing.

Nope, trivalent chrome does not convert to hexavalent chrome in glazes.Re zinc chromate, according to Hansen "Chrome in zinc glazes tends to form the stable crystalline compound, zinc chromate (ZnCr2O4). which is brown." from this link. 
I plunked your glaze recipe into the glaze calc program I use but I'm not confident in the accuracy of it since specific types of potash feldspar, talc and china clay aren't mentioned in your recipe. Using generic analysis the formula is on the low side for silica though. I would do a lemon slice test on it and see if the colour changes., also keep a test piece in the dishwasher, if you use one, for a few months then compare that to an unwashed piece.What is really important is to have a stable base to prevent leaching. With colouring oxides, aka transition metals, less is better.
 

I've been using slip made with magic water and my dry claybody for years. I use a smooth white claybody and fire to cone 6. I think it makes a difference which claybody is being used, some are far more prone to handles etc popping off than others.
Magic water helps as the slip made with it is stickier than made with just water, it dries harder than plain slip and during the firing the extra sodium in the slip helps flux the slip a little more than plain slip making a stronger join post firing.

Let's not throw the baby out with the bathwater here. The form of chrome used makes all the difference in the world in regards to toxicity.
Potters use chrome oxide, it is insoluble in water and gets bound in the glaze matrix in a balance glaze. It is volatile in the kiln so it can cause a pink blush on tin white glazes. Wear gloves if you get contact dermatitis with it. (it's a good idea to wear gloves whenever handling raw materials and glaze slurries to avoid skin reactions)
We do not use the exceedingly dangerous hexavalent chromium in ceramics. Iron chromate is toxic, stay away from using it.
Zinc oxide fumes from kiln firing shouldn't be breathed in, zinc can become volatile above around 850C/1560F and like all the materials we use in glazes practice good studio hygiene and wear a respirator while handling dry materials. In a glaze it isn't a problem. 
Chrome + tin pinks and reds are perfectly safe, whether in a stain or from the oxides.
 
 
 

Oh, that is a lovely green! It looks enough matte, though, to use a liner glaze with it on food surfaces. A white with tin in it could blush nicely at the lip of a vessel. (Use a liner because a matte glaze doesn’t clean as well as a gloss and can harbor bacteria over time, not to save the user from leaching-chrome exposure.)
I think you’re right that the cobalt, besides modifying the chrome, also helps to keep it from ‘browning’ or to rescue a brown by sending it toward blue - like the  little-bit-of-cobalt “cheat” in copper reds that rescues an uneven reduction red from ‘snot green or bleached white to soft blue (I learned this from a Tom Coleman student).

Let's not throw the baby out with the bathwater here. The form of chrome used makes all the difference in the world in regards to toxicity.
Potters use chrome oxide, it is insoluble in water and gets bound in the glaze matrix in a balance glaze. It is volatile in the kiln so it can cause a pink blush on tin white glazes. Wear gloves if you get contact dermatitis with it. (it's a good idea to wear gloves whenever handling raw materials and glaze slurries to avoid skin reactions)
We do not use the exceedingly dangerous hexavalent chromium in ceramics. Iron chromate is toxic, stay away from using it.
Zinc oxide fumes from kiln firing shouldn't be breathed in, zinc can become volatile above around 850C/1560F and like all the materials we use in glazes practice good studio hygiene and wear a respirator while handling dry materials. In a glaze it isn't a problem. 
Chrome + tin pinks and reds are perfectly safe, whether in a stain or from the oxides.
 
 
 

I've been using slip made with magic water and my dry claybody for years. I use a smooth white claybody and fire to cone 6. I think it makes a difference which claybody is being used, some are far more prone to handles etc popping off than others.
Magic water helps as the slip made with it is stickier than made with just water, it dries harder than plain slip and during the firing the extra sodium in the slip helps flux the slip a little more than plain slip making a stronger join post firing.