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 14