Glossy Clear Liner, Cone 6 

20 G-200 Feldspar

20 Ferro Frit 3134

15 Wollastonite

20 EPK

6 Talc

19 Silica

The sample picture is of an agateware with the clear over it.

This is the simple Cone 6 clear liner base recipe that I’ve been using in my studio since 2005.

Very stable from cone 5 to cone 7.

To create my creamy white liner, I add 4% Tin Oxide.
Oribe Green, Cone 6

32% Custer Feldspar

24% Whiting

24% Silica

12% EPK

8% Zinc Oxide


5% Copper carbonate

Cone 5-7

(ClayTimes May/ June 02, Pg. 59)

This is a beautiful transparent glossy Jade green glaze. Plan for a bit of vertical movement with this glaze, especially if applied thick. Prone to pin-holing is not soaked at the top of firing.

It works very well over a black slip design.
Blue Hares Fur, Cone 6

3 Nepheine Syenite

27 Gerstley Borate

20.3 Silica 325

5.4 EPK

2 Red iron Oxide

1 Cobalt Oxide (altough I sometimesuse cobalt Carb)

4 rutile

2 bentonite

This is a very versatile glossy blue cone 6 glaze that I’ve been using in my studio since 2006. It’s very stable by itself and interacts well with my most of my other glazes, and more inportantly, it reacts beautifully with my standard white liner glaze creating wonderful optics breaking at the rim.

When applied thick, it produces an amazingly rich blue hares fur.

When applied thinly it produces a transparent iron blue.

This glaze begins to glass up at bisque temps, but can be taken to cone 7 quite well.

I’m most commonly using it to create my GhostBlue glaze for cones 5 to 7. The GhostBlue is a combination of my studio clear glaze with a thin application of Hares Fur over it to produce a transparent rich blue glaze that really works well with my cobalt slips.
Nutmeg, Cone 6

Dolomite 23.3%

Spodumene 23.3%

Ferro Frit 3134 6.8%

OM4 (Kentucky ball clay) 23.3%

Silica (325 mesh) 23.3%


Red Iron Oxide 1.07%

Yellow Ocher 3.24%

Tin Oxide 4.85%

Bentonite 1.94%

I’ve been mixing this recipe up since the fall 2005. It’s a nifty little recipe I pulled from a February 2003 Ceramics monthly article. I was in the midst of a traumatic shift from firing large reduction cone 10 kilns to firing a small cone six electric. I liked warm and toasty asymmetrical surfaces and I knew that cone 10 reduction was my friend. For all the hype, I wasn’t pleased with the glaze results coming out of my old electric and I needed a glaze that I could depend on and more importantly, live with… (cuz if it don’t sell ya gotta live with it!)

This was the glaze I needed to get me going. It looks good. It’s stable. It’s dependable. I’ve never had to scrape a kiln shelf because of it, and its fun!

Yep… it’s fun.

Used alone it’s ok, but when you start mixing it in different ratios with the Satin White glaze, it deepens the pallet. You can click over to the Satin White glaze recipe for more information. It seems to mature fairly early giving a dry surface at cone 5 and a glassy surface at cone 7. I’ve done quite a bit of playing with the mixes and temps and I’ve settled into a 95%nutmeg / 5%satin white mix applied really thin. This creates a nice warm toasty flashing at the edges of application and works well with slips. I’m firing in a cone 5 to cone 7 range so I’ll stick this glaze in where ever I need to fill space in the kiln. Like I said… dependable.

SDSU Texture & Crawl Glaze, Cone 6

Here is a real cone 6 gem…

25% Magnesium Carbonate
70% Nepheline Syenite

5% Kentucky Ball Clay (OM4)

This is the basic recipe of the crawl glaze that I’ve been playing with over the past few months. I found it buried in an old sketchbook scrawled in a corner of a page. It was from 8 or 9 years ago during a time when I didn’t have any sort of studio access and was sucking up as much information as I could get my hands on. The recipe is attributed to a October 2000 Ceramics Monthly article on page 49, unfortunately I failed to note who the author was. (Hopefully someone can help me rectify that.)

This glaze is very temperamental and you need to place it in the kiln asap after dipping. The glaze will crack and begin to pull away but not quite fall… unless it’s disturbed. It’s very sensitive to thickness.The glaze will behave very differently based on what’s under or over it.

Here’s a link to a February post showing some of my experiments…

Experiment and have fun and please share any successes or failures you have.
Moon Crater White Glaze, Cone 6

I generally maintain 2-3 white glazes for my work in the studio at any given time. I have a dependable white liner that I use mostly on rims and interiors of domestic ware. I usually like trying out experimental white glazes for future works, and then there’s my MoonCrater White.

This is the recipe for the MoonCrater White cone 6 oxidation glaze that I use in my electric kiln. It’s a fairly standard white satin matte glaze that I ran across in a February 2003 Ceramic Monthly. The only change I’ve made was switching out Tin Oxide for Zircopax as a opacifier to give me a softer white.

Gerstle Borate 31.6%

Talc 14%

Kona F-4 Feldspar 19.8%

EPK 5%

Silica 29.6%


Tin Oxide 5%

Bentonite 2%
By nearly all accounts, this is a bland unpredictable glaze that I should have stopped mixing up 2 years ago, but… well, I like it.
It’s faults are what makes this glaze so interesting . When it’s overfired on a cone 5 clay body, the glaze develops a rich creamy semi-translucent white satin matte that’s inclined to develop patches of wonderfully textured orange peel effects that often transition into shallow open soft edged craters. This is a pleasantly usable texture glaze.

The main reason this glaze is still made is that it’s mixed proportionally with a Nutmeg glaze to create an all purpose wonderfully warm earthtoned glaze that’s a customer favorite. In house, I refer to this mix as a NutWhite glaze.

The personal reason I still mix this glaze up is because I love what happens when I use it over paper stencil cobalt slipped designs on a red stoneware clay body.

While I’m still never really sure how this glaze will come out of kiln, I love and live for the anticipation of creating works for this glaze. It’s a glaze that provides me some of the highs and lows that make studio life so rewarding.


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