The degree-of-matteness of this cone 6 glaze is adjustable

This is G3933A oatmeal glaze fired at cone 6. But this is how it looks out of my kiln (using the C6DHSC drop-and-hold slow-cool firing schedule). On my clay body, Plainsman M390. At the thickness I have applied it. Using my materials and my method of mixing and application. Of course, having the recipe is the first step for you to make this (tap the code number above to see it). The next step is being able to adjust it. Adjust what? The degree of matteness. What I get here is a combination of the cooling rate (from the already-mentioned firing schedule), and the ratio of matte G2934 and glossy G2926B glazes I use (this is an 85:15 matte:glossy mix) to which I add the iron, tin and rutile. However, in your circumstances, the pure matte may be OK (if there is no cutlery marking). Or it might be too matte and require an increase in the percentage of glossy. Or, you might choose to cool the kiln faster or slow (to get more gloss or matteness).

Related Pictures

Two cone 6 oatmeal-brown adjustable glaze recipes

Adjust matteness, working properties, crawling resistance

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Left: G3933EF oatmeal based on Ravenscrag Slip.
Right: G3933 oatmeal based on a mix of G2934 matte and G2926B glossy base glazes.
Both have the same added colorants. The Ravenscrag version features several advantages. Most importantly, less tendency to crawl. It has better application properties, the slurry needs less water and it is naturally thixotropic. It has an extra option for adjusting slurry working properties: Changing the ratio of roast-to-raw Ravenscrag clay. It is responsive to cooling differences - more matte on slow cool versions of the C6DHSC schedule (e.g. 150F/hr), more glossy on faster cools (e.g. 250F/hr). And, its recipe is adjustable (e.g. raising the MgO if a more persistent matte is needed). And, the fired surface looks and feels better, interacting with dark bodies for richer color and varying in tone more for thinner and thicker sections.
This being said, the G3933 (right) is more easily adjustable for matteness (not requiring chemistry) and its materials may be easier for you to get. More iron oxide can also be added for extra color.

Paint another layer onto a fired glaze? Yes. With CMC gum.

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The cone 6 mug on the left has the G3933A glaze, applied as a dipping glaze. It turned out poorly - crawling from corners and looking thin and washed out. I made a brushing glaze version of this (which adds 1.5% CMC gum), I keep it around for this very purpose. It has a high specific gravity (unlike commercial ones that have high water contents - they will run and go on too thin if you try this). Because of the gum it dries hard, there is no shrinkage or cracking. On a second firing, using the C6DHSC schedule again, (mug on the right) the surface is transformed - thicker, more vibrant color (being picked up from the underlying body).

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