Already the community seems to be intrigued with the idea, so it
should go over well. We pass the idea onto other groups. I
suspect our biggest problem will be to have a sufficient number of
pots to market.
Ruth Flower, Publicity Chairman for the
"Cariboo Potters"

FIRE AWAY ON GLAZE EXPERIMENTATION

The conventional limit formula approach to glaze experimentation
is very effective for the potter with depth of experience, but the
beginner may find it a bit overwhelming. For the novice then, the
line blend and all its mutations might be a more fruitful way of
learning about glaze materials. This approach, using just a few
materials in the beginning stages, is more likely to develop an
understanding for the materials as individual components.

To begin your storehouse of information, choose your clay body and
the temperature you wish to fire to. Make several dozen test
"cookies". Circle slabs about 3 in. in diameter pressed on tothe
elbow to make a small dish are good for this type of experiment
because it is desirable to put materials to be tested inte a con-
tainer until you know the nature of the melt. This saves wear and
tear on kiln shelves. Put a hole near the edge of the “cookie” so
they may be either hung on a board or tied together in sequence

for easy reference and comparison. Little information can be
gleaned from some 100 odd test tiles heaped in a box.

Read the section beginning on page 202 (second edition) of
Ceramics, A Potter's Handbook by Glenn Nelson. It is titled
"Ceramic Chemicals" and has several sections which will mean
more each time you read and compare with your tests. Keep in
mind that a glaze contains three components: the flux, the stiff-
ener and the glass former. (Read before buying materials! Make
a small selection relative to the temp. you fire to and test those
before buying more).

1. Mark each tile with the name of the material to be tested.
(Use iron oxide or a dark stain).