Next you let it sit, remove the excess water and dry what's
left. Break up the dry lumps and it's ready to use.

Now the fun part begins. Asa start in working out your own
ash glazes use simple combinations with glaze materials you
have on hand. For example mix one part of ash to one part
feldspar and then vary the amounts of each, (See Jean Marie
Weakland's instructions for doing a line blend in the last issue

of “Western Potter". )

Any materials can be used, suchas clay, whiting, flint,
colemanite, talc, dolomite, red clay, slip clay, nepheline
syenite or any frits etc.

Combinations with 2 or 3 other materials should also be tried,
like ash, feldspar and clay, or ash, feldspar and whiting, (See
Jean Marie's article on triaxial and quadraxial blends in this

issue.)

If it fires too stiff or dry add more ash or other [lux and if it's
too fluid add more clay.

Ash by itself is usually thin and watery and will turn to glass
at cone 10.

Another way to use ash is in any stiff or dry glaze you already
have. Just add ash in different quantities till you get the
desired effect.

For color you can use any of the oxides used in other glazes,
Iron and rutile are especially effective in a reducing kiln and
have been used extensively in Japan. Ash glazes can be used
in oxidizing or reducing kilns and are well worth the effort.

The “Tactile” issue of May, 1971, has an article by Robin Hopper,
"Glaze Making Simplified - Ash Glazes", which you will find
very helpful. "A Potter's Book" by Bernard Leach has ash

glaze formulas used by Japanese Potters.

4 Hanna Christmanson