ast week I did some testing for cone 6 glazes made with the clay and ash from the farm.  I would like to develop some nice glazes from those materials to use in my electric kiln at cone 6.  The first seven trials depicted are other’s recipes I tested.  The ash used is partially washed and screened at 60 mesh cedar ash from the shingles taken off the barn.  Clay used is clay from the farm, screened at 100 mesh.  GB is an abbreviation for Gillespie Borate. Please note number 7 is the composite of these 6 plus the three series of tests pictured next.  Glazes are hard to assess from a photo, but here they are:

Results: What you see is the glaze over a white slip on Meyer clay with an X carved through the slip.  1 and 3 are decent starts to a honey-colored amber-celadon, but 2 and 4 are no where near fluxed out enough.

Results: Here again you see the latter two glazes over white slip but piece 5 is over an iron slip. 5 is supposed to be a clear glaze, but is a bit milky though nice, 6 is opaque, milky blue and runny, and 7 is a beautiful olive celadon color.

I also tried a triaxial blend of (Nepheline Syenite, Cedar Ash from the shingles, and Meyer Clay):

Which all needed more flux (meaning melting agent).  A2 and A3 are interesting in how they held an iron painting on the surface, I will try to flux them more in the next round of tests.

Next I tested a triaxial blend of Gillespie Borate, Cedar Ash, and Meyer Clay:

These yielded nicer amber-celadons with floating blues were it pooled thickly. B4 and B5 are greener with floating particulate suspended in the glaze. B2 seems to be the nicest of the amber celadons.  (You are seeing the glazes over white slip over Meyer Clay.)

Lastly I did a series of tests with different ratios of Cedar Ash, Meyer Clay, Gillespie Borate, and Custer Feldspar:

Here the glazes are seen over iron slip over Meyer clay.  There are some floating blues coming from the Gillespie Borate that are nice.  These and other promising results will be pursued further in testing this week:)