EarthToMatthew

This is a great point I've never considered that, I'll try warming my pieces up in the future and see what happens. Thank you!

 
 
I'll read through this, thank you for sharing!

 
 
Yeah, I would like the coloring to last as long as possible. 10 years is pretty long but permanent is ideal. I'll give the china paints and luster a shot and see what happens.  Thanks for all the info and such a detailed reply!
 

Yeah well said Rae, I'm sure this won't be the last mystery glaze I will have to mourn haha. I have just enough left to make a mug so I'll make it a special one and hopefully one of these days I'll find a glaze combo that has the same properties.

Yeah well said Rae, I'm sure this won't be the last mystery glaze I will have to mourn haha. I have just enough left to make a mug so I'll make it a special one and hopefully one of these days I'll find a glaze combo that has the same properties.

Yeah after doing a little research I feel I've come to a better theory of what may have happened, because I think you're correct about it not looking right for a recipe with so much gerstley borate. I believe I may have had a bag of material wrongly labeled gerstley borate. If this is the case then I have no chance of re-creating this very easily because I have so many raw materials. I may have put too much bentonite but your right about it being fairly noticeable. I don't remember needing to add much extra water or having any problems mixing it. Thanks for your 2 cents! I'll take any I can get haha.
 
 
I figured it probably wasn't  a very strong glaze, I could tell just by the surface. When applied over other glazes it changes  quite a bit,  and becomes more of an effect glaze, I like it for the texture it takes on when coupled with glossy glazes.  I suppose it isn't too ideal for functional pieces but I wanted to experiment with it and see what would happen in other applications. 
 
It was initially an altered version of an Emerald glaze from John Britt's mid range book. I definitely messed up when I copied the recipe, as one ingredient was omitted completely.  I realized that first mistake when it came out brown instead of green and doubled checked the recipe. When I tried to recreate the accident glaze I came to the realization I made and a second mistake that's harder to identify. After a little research I'm starting to think that gerstley borate I used was in a mislabeled bag that contained a mystery ingredient.
 
Thanks for the links to those Noxema recipes! However, it's actually the brown in the first photo that I'm looking for, the second photo was just to show how it paired with other glazes. I was worried I might confuse the situation if I posted that haha.

 
 
Ah yeah I suppose that is probably out of the question then, I would definitely be biting off more than I can chew if I went that route. I'll just have to let this one go I think, maybe eventually I can find a recipe that gives a similar effect. I've been saving a lot of brown recipes I found on glazy, I'm just going to mix a bunch and start testing!

Matthew:
where you collected gives indication of mesh size. Most clay collected along water banks are obviously sedimentary, but pending how fast the water flows; usually find larger particle size. If you find a location along the creek/river where the current is slow; then you will most likely find smaller particle size clay. Did you test the clay without any additions before making the decision to add bentonite? Bentonite can be used, but it is not the best solution to create plasticity for many reasons. If you are after smooth; then theoretically you must increase small particle percentages (under 2 microns). Temper by wild clay definition is any large particle (20-40 mesh) added to create malleability, in lieu of plasticizers. 
You are actually talking about particle size distribution (PSD); a clay theorem that formulates a body based on %’s of large, medium, and small particles sizes. You are starting at 80 mesh from the description you posted. At this point, adding high percentages of fine mesh mullite, molochite, or kyanite would inhibit plasticity. All there of these are used to increase cone value, increase strength via mullite %, and or reduce warping when drying or firing. I do not know your firing method, or your peak cone value; so adding silica or feldspar would be a wild guess at this point. You can start with 60% wild clay, 20% Imco400 or Kentucky glaze#1, and 20% OM4 ball clay. In addition to smoothing out your clay; both additives will increase your dry time if you are doing large format pieces.
Tom

+1 for a fine mesh kyanite. @EarthToMatthew, good article on kyanite additions to clay below, worth a read to see if it sounds like what you are looking for.
https://digitalfire.com/material/kyanite

Hey guys, just wanted to give you an update. I did my first bisque fire to cone 06 last night, and everything seems to be in order. I really appreciate you making yourselves available to newbies like me. This kiln was difficult to research, so it was really nice to come here with my questions. Thanks! 

Hey Bill, thanks for taking the time to help me out. I've printed out the diagrams I'm going to show them to my Dad, he's the one who wired the kiln up for me. He has a lot of experience with electrical but may not have known how this kiln in particular should have been wired. I'll be back with more info once I speak to him about it.