Had a very successful kiln load unloaded yesterday. Every glaze test went well, which is unheard of for me (and especially for this project…. I was starting to feel like my glaze tests were cursed…), and I’m happy with pretty well every cup. A few will have to be re-thrown, but only because the glaze ran too far and pieces of cup are now melded to the kiln shelf. Not because any of them are boring, or did not meet my expectations.

Two new glazes, a matte green and a commercial metallic[1], were used fairly extensively in this load. The green turned out much greener on the cups than it did on the test tiles–I’m guessing that’s due to thickness of application–but still broke marvelously where I wanted it to break and gave some gorgeous, luscious colour variations everywhere else. It ran a fair bit on more vertical pieces, so in future I’ll have to remember to wipe it higher or restrict it to footed and/or flatter shapes. And the metallic glaze is, as advertised, very metallic. Even gives a funky variegated brown if layered under clear. It’s a little darker than what I’d been expecting, but it still works.

From left to right, that’s Boudica, by Vanessa Coleridge, Interview With the Vampire, by Anne Rice, and Chronicles of the Crusades, by Joinville and Villehardouin (Tr. by M. R. B. Shaw).

[1] Spectrum Pewter, if anyone’s interested. Two coats with a sponge brush. Out of tennish pieces, I only a little bit of pinholing on my Death Star cup, and one teeny little speck on the crusader cup above. Colour and shininess are very even. They were meant to be fired to cone 6, but the particular section of the kiln they were in got up to a medium cone 7. So I’d say it’s a reasonably flexible, reliable glaze.

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