I have been experimenting with our Cone 6 Glaze recipes. And found some amazing combinations. Most of our recipes we used straight from Mastering Cone 6 Glazes by Ron Roy and John Hesselberth. The book is really insightful about the theory of Glazing, how the chemicals work together and the properties of a good glaze recipe. It is kind of like a good cooking batter, you need the right amount of protein with gluten and a rising agent. In the case of glazes you need the right amounts of Silica and Alumina and Coloring Agents. Some of the combinations I like are Floating Blue with Butter sprayed on top. Licorice with Waterfall brown on the edges. Butter and Waterfall Brown on the edges, and Licorice with Volcanic ash painted on as highlights. There are pictures on this blog somewhere I will figure out how to attached them :).
One of the most interesting things I found when reading the Mastering Cone 6 Glazes book was that you can re-fire the Waterfall brown in a bisque firing and the iron content in the glazes turns red. I have pictures of that as well. Basically what is happening is during the bisque fire you spend a lot of time at the key Crystal Growing temperatures between 1500 and 1800 degrees. What was most interesting was that the licorice in the test went from a shiny black to a more opaque metallic black. The pictures really don’t do it justice. I will also take the bowl and fire it again in the Cone 6 firing and see if the melt will bring the black back. I’ll post the pictures again after the firing.
I did the same with the floating blue sprayed with butter. When you spray the butter you get very vivid blues and purple flashes. When I fired it in the cone 6 firing it turns to lime green opaque color, it is really neat. and it really mixes up well. I think because of the high boron content int Floating Blue Glaze it melts at the low temperature enough for there to be a little bit of movement. I am not sure if that is the right speculation, but if I find otherwise I will post it on this site.
My next experiment will involve taking all the glazes in the studio and overlapping them in a cross grid and reversing the order to see what you get. I am starting to realize the most movement and interest out of a cone 6 glaze you will have to do some kind of overlapping.