These three melt flows and mugs were fired at cone 6 (using the C6DHSC firing schedule). The benchmark recipe is 80% clay and 20% Ferro Frit 3195. The center melt flow and mug (made from a Plainsman 3D-based stoneware) employs original Albany Slip as the clay portion. The one on the far left uses an Albany Slip substitute that was developed by calculating a mix of RedArt and other materials to have the same chemistry as Albany Slip. The one on the right employs Alberta Slip. Notice that, although the Alberta Slip version has a very similar melt flow, on the mug it is apparent that it needs a little iron oxide for a better match (e.g. 1-2%). And the glaze on the left: The chemistry of RedArt is different enough from Albany that some compromises in chemistry-matching were needed to avoid over-supplying the iron even more (and firing even darker than this). Although this Redart version runs in a very similar pattern on the melt flow, the character of the glaze is somewhat different on the mug (a better match can be achieved by increasing the frit percentage slightly, or firing to cone 7).

This demonstrates the amazing melt behaviour of lead-as-a-flux for ceramic glazes. Not only does it melt early, but it softens slowly over a 300F range of temperatures before it goes off the end of the runway on this GLFL test. Then, when fired 200F hotter than that, it remains a stable, clear and uncrazed glass. Beginning around 1750F, this becomes a transparent glaze, by itself.

These were 10g balls melted using our GBMF test. Frit 3602 is lead bisilicate. But it got "smoked" by the Fusion FZ-16 high-zinc, high-boron zero-alumina! Maybe you always thought lead was the best melter. That it produced the most transparent, crystal clear glass. But that is not what we see here. See something else? Each frit has a melt-fingerprint. Two are similar, it is immediately evident which.

This is what you need to be independent, to create your own manufacturing company in your garage. Some of the prices are "instead of" rather than additive. There are many approaches to glazes, the more you are willing to learn the better you will be able to make your own (and save a lot). We recommend the cone 6 range using a small test kiln (like this 220v ConeArt GX119, don't scrimp on this, go for quality and the practicality of a Genesis controller). A kiln you can fire often and inexpensively is a key enabler to learning, developing techniques, products, designs, durable and decorative surfaces, solving problems. It can be fired multiple times a day. And it is big enough for mugs and similar sizes. It will get you into the habit of using some of your creativity for experimenting. It will give you the successes early on that will inspire you to press on learning. When you are ready, then get a big kiln and hit-the-ground-running. This potter's wheel is the best available and will last a lifetime, these often appreciate in value over time. And, build yourself a good plaster table. You will use it constantly. Not shown here is a propeller mixer, also an important tool. And you will need a sink equipped with a sink trap (Gleco Trap).

This piece was bought in Sinaloa in 2020. The merchant said it was made in Puebla. The lead test procedure involves leaving white vinegar in the piece overnight, pouring some of that into a test tube, dipping a cotton swab into a reagent solution and then stirring the vinegar. The color indicates lead content. As you can see, it has turned black, indicating heavy concentration of lead. This pottery is a tradition in Mexican culture and is used for food and liquid surfaces everywhere. There are manufacturers trying to make stoneware that retains the traditional appearance, but few people use it. Further refiring tests demonstrated that these are fired around 1700-1750F, a temperature sufficient to melt pure lead bisilicate into a glossy transparent but the body is still very soft and porous.

I poured 4 teaspoons of two glazes onto a non-absorbent butcher’s board and let them sit for a minute, then inclined the board. The one on the right employs Gleason Ball clay, the left one has Old Hickory #5 ball clay. Neither has any slurry property modifier addition. The one on the right has settled and on incline the watery upper is running off. The other has gelled and the whole thing is running downward slowly. Below I have begun to sponge them off, the one on the right is sticky. The most amazing thing about this: This difference appears despite that there is only 7% ball clay in the recipe.

This melt flow tester demonstrates the beautiful crystal-clear glass this zinc frit creates by 1700F. It fits this porcelain without crazing, even though very thick and high in sodium (the high zinc and boron are countering it to keep the thermal expansion down). It runs off the end of the runway around 1600F on this GLFL test, rivaling lead bisilicate. This is a more concentrated boron source than even Gerstley Borate. Everything about this material screams “ultra gloss”, what a material to build a fluid-melt reactive super-glaze on!

The vast majority of glazes are plastic (but less than clay bodies). They can be dewatered on a plaster surface and formed. Why do this? To make 9-10 gram balls and fire them on flat tiles (or inclined flow testers) to see their melting characteristics. It is surprising how much this can tell you about the glaze. To make the ball, mix the slurry well and pour a little on the plaster. It should dewater in less than 30 seconds. As soon as the water sheen is gone, scrape it up with a rubber rib, hand-knead it and flatten it back down to dry a little more if needed (leave it only for five or ten seconds and rework it. Repeat until it is stiff enough to form balls of about 12 grams. Stamp them with ID numbers and dry them.

The left two were made from a 100% mix of Lincoln 60, the right one adds 2% bentonite (Lincoln 60, by itself, matures into a stoneware at around cone 8). While it was possible to throw the pure material, the plasticity is a little lower than a normal pottery clay. That being said, it is smooth and has a soapy feel that makes it very pleasant to work with. A simple 2% addition of bentonite transformed it into a delight to throw! That only increased the drying shrinkage by about 0.5%.

These tiles are a 50:50 mix of Plainsman L215 and M390. They are fired at cone 1, 2.5 &4 (columns 1,2,3). The glaze is G3806N (v1) with stains at 10% concentrations. That glaze is a fluid-melt for cone 6, but it performs nicely down to cone 1 and even lower. There is no visible crazing and the iron body is stoneware-strength. The firings were only held for 10 minutes at cone (no slow cool). These coloured glazes are also less "muddied" by the iron in the body than would be the case at cone 6. This is a really amazing result. Red-burning bodies can be difficult at cone 6 (if fired too high the red color is lost, if fired too low they are too porous).