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!