effects. A glaze that worked well at this stage, was

then applied to three similar objects, which were
fired, one at a time, in the next three kiln loads

to test the consistency of results. Some proved to be
very reliable even with slight variations in length of
firing or temperature reached.

The range of what could be done, in the way of

testing was endless, in fact, it is completely and
totally overwhelming when you consider the potential
combinations that could be investigated. But it does
make sense to thoroughly investigate the potential of
one Qlaze instead of constantly leap-frogging to the
"latest" acquired magic formula. Learn to understand
the principles of developing glazes and learn to alter
proportions and/or ingredients, rather than accumulate
books full of unrelated recipes.

For those who have said somewhere along the line - but
I don't have all those materials, or clay bodies, or

- or - or, I can only suggest that most colleges,

night schools, summer schools, workshops and guilds
have programmes that would put you in a situation where
you will find a way. You can also just do as many as
are possible within the limits of what is available

to you. Above all, take the time to familiarize
yourself with the mature of the materiale that you

are testing and try to analyse or understand your
results - rather than just like or dislike the tile.
Perhaps you will discover and respond to the quality

of a silica matt or barium matt surface or enjoy the
variations that substitutions of wollastonite and albany
bring to oxidation fired glazes. Perhaps too, you

will start to understand the etructure of the glaze
that you are using and become skilled in developing

it to a point where it will provide you with the
quality of glaze that enhances good pots.

TEST VEHICLES

A) Test tiles | |
Tiles should sit on the kiln and not lie flat so that

you can see how much the glaze will flow and whether
or not there is variation between the outside and inner
surfaces. There often is! Make the tiles large

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