GLAZE INVESTIGATION
By Ann Mortimer

Thte article first appeared tn the Ontario Potter, a
biannual publication of the Ontario Potters Assoctation
The Western Potter exrpresees thanks to Ann Mortimer and
the Ontarto Potter for permteeion to reprint it. Ed.

It would not be an exaggeration to suggest that if all
the glaze test tiles that have been fired in Canada (at
educational institutions, workshops studios and guilds)
in 1975 were to be set up--end to end--that I could tip-
toe from the East coast to the West coast without

ever having to touch the earth - the source of the
materials. What a strange thought that is!

The testing goes on and on and on, using the methods of
molecular theory, ultimate per cent analysis, computer
printouts, line blends, flux variations, triaxials,
quadraxials, the "latest" published glaze recipes from
the “latest” ceramic publication or the “latest” book,
or from the most recent workshop attended, where the
instructor shared a few of his or her "workable"
glazes.

What has been (earned or understood from this massive
commitment of one's time (which is scarce and very
valuable), from the use of large quantities of materials
(which are expensive and limited), the use of space in
one's kiln (which is also limited) and the use of a
variety of types of energy (which must be conserved)?

It has been my observation, that the majority of tests
receive a cursory glance and that 99.9% of them are
rejected because at the first testing, they are not
"“orecisely" what the tester was searching for, if

indeed one knew in advance what one was looking for,
other than a “good” glaze. A quick glance, occasional ly
a tactile assessment - decision made - rejection - and
on to the "newest - latest" acquired formula. We missed
winning the lottery again!