The events in our lives and how we create our projects are a lot like a kiln firing. We often need to start slowly, following a familiar schedule to achieve consistent results. But just like life, pottery sometimes demands that we try new things, even if they don’t always work. Life doesn’t follow a strict schedule—though things may seem the same day to day, change is always working behind the scenes. Adjusting our process to meet those changes is part of the journey.

Achieving a good glaze firing is possible, even if you’re still practicing. When glaze recipes are followed correctly, with the right amounts of raw materials, you should get consistent results. However, raw materials can change. The minerals we rely on may come from different mines or undergo different processing, influencing the glaze’s outcome. For this reason, many potters test new batches of glaze materials before mixing large quantities. Even with the same recipe and firing schedule, surprises happen.

A Human Touch to the Process

Glaze results are also affected by how the glaze is mixed. Many studios designate one person to do the mixing, trained by another who passed down the skill. How a person measures, mixes, and checks specific gravity can change everything. New glazes sometimes emerge from how one person’s methods differ from another’s—and let’s be honest, some loads get ruined this way too. But every so often, a mixing mistake leads to something wonderful. Repeating that “mistake” might even become a challenge of its own!

Clay and Glaze: A Delicate Dance

The clay body you use also plays a role in how the glaze looks. For example, iron-heavy clay can affect glaze color. That’s why making test tiles is important. But even test tiles only give you a glimpse—the final glaze look will depend on the clay body, the bisque firing temperature, and the absorption rate. To get reliable results, test with the same clay body you plan to use, bisqued at the same temperature.

Glaze Application: A Practice in Patience

Once your glaze is mixed, it’s time to apply it to your pots. Sounds simple? Not exactly. Whether you dip, brush, pour, or spray glaze, every technique influences the final result. Even how long you hold a pot in the glaze or how you stir the bucket matters. Some days, tired hands yield different results than well-caffeinated ones—funny how coffee can influence art!

Brush-on glazes are usually thicker than dipping glazes, and if you’re brushing a dipping glaze, you’ll want to test it first to understand the layering. Some potters use sponges; others prefer pouring, especially for larger pieces. Spraying glaze with an air compressor offers another level of control, though it takes practice to master the technique.

Experimenting with different tools and methods is part of the process. Over time, you may even discover your own unique techniques. The same goes for life—while we might follow guidelines and principles, each person brings something different to the table.

The Kiln Gods Have Left the Building

We aren’t done yet! Once the glaze is applied, it’s time to fire the pots. Some cross their fingers and leave things up to chance—or the so-called “kiln gods.” But the truth is, there are no kiln gods. Firing is a skill. Each method—whether electric, gas, wood, or raku—offers different results.

Automatic kilns, for instance, provide consistency. But don’t get too comfortable relying on digital settings alone. Manual firing forces you to engage with the process, checking cones, monitoring heat, and adjusting along the way. Each firing reveals something new—like how fast a cone bends or what sound the kiln makes at certain temperatures. Sometimes, an accidental fast firing leads to an unexpected, beautiful finish.

Gas and oil kilns offer even more possibilities. Playing with fuel levels—adding oxygen or reducing it—affects the glaze’s final look. You could fire a pot six times and get six different outcomes, all from the same glaze. Placement within the kiln also matters; pots on different shelves may experience different conditions. And with wood firing, ash deposits can create natural, unpredictable effects.

The beauty of pottery (and life) lies in embracing the unknown. Mistakes aren’t failures—they’re part of learning. Just make sure none of your experiments land you in jail. The possibilities are endless!

A Life Lesson in Glazing

The same principles we apply to pottery can guide our lives. Like glazing a pot, life requires us to reflect on what we value and what principles we follow. What kind of person do you want to become? Who are you making your metaphorical pots for?

We often ask, “What’s the perfect recipe?” But the truth is, there isn’t one. Just as no single glaze works for every pot, no single path fits every life. The answers are already within you, as Deuteronomy reminds us:

“For this commandment which I command you today is not too mysterious for you, nor is it far off. It is not in heaven, that you should say, ‘Who will ascend into heaven for us and bring it to us, that we may hear it and do it?’ Nor is it beyond the sea, that you should say, ‘Who will go over the sea for us and bring it to us, that we may hear it and do it?’ But the word is very near you, in your mouth and in your heart, that you may do it.” – Deuteronomy 30:11-14

In both pottery and life, the journey is about practice, reflection, and growth. There are no shortcuts, no magic glazes, and no kiln gods. Just you, your tools, and the willingness to try again.

Here is an easy base to start with. Be sure to use the proper personal protective equipment when mixing.

This base is for both oxidation and reduction at cone 6 temperature is approximately 2232°F (1220°C)

Janet Holdcraft’s “Blue Dawn”

Gerstley Borate – 50 g
EPK. – 20 g
Flint. – 30 g

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= 100 grams
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for blue add:

Cobalt carb -2.5


Important Safty Information:

Here’s a list of essential personal protective equipment (PPE) for safely mixing pottery glaze recipes:

1. Respirator or Dust Mask

• Type: N95, P100, or half-mask respirator with appropriate filters (NIOSH-approved).
• Purpose: Protects against inhaling fine silica, clay dust, and toxic metal oxides like manganese or cobalt.
• Tip: A proper respirator is preferred over a dust mask for extended mixing sessions.

2. Safety Goggles or Glasses

• Type: Wrap-around chemical splash goggles.
• Purpose: Shields your eyes from glaze splashes and dry material dust during mixing.
• Tip: Ensure the goggles fit snugly and have anti-fog coating.

3. Gloves

• Type: Nitrile or chemical-resistant gloves.
• Purpose: Protects hands from chemicals in glazes, such as lead, copper, or chrome compounds.
• Tip: Avoid latex gloves, as they can degrade when exposed to certain chemicals.

4. Protective Clothing or Apron

• Type: Chemical-resistant apron or long-sleeved clothing.
• Purpose: Prevents glaze materials from coming into contact with skin and clothing.
• Tip: Wear clothing that can easily be washed or kept separate from your everyday clothes.

5. Closed-Toe Shoes

• Type: Sturdy, closed-toe shoes (like leather or rubber).
• Purpose: Protects feet from spills and accidents with heavy equipment.
• Tip: Avoid canvas shoes or sandals when working with glazes.

6. Ventilation System or Fume Extractor (Supplemental PPE)

• Purpose: Removes airborne glaze particles and fumes.
• Tip: Always work in a well-ventilated area, even with PPE in place.

Written By,

Al Wayman

Artist/Owner

Creek Road Pottery L.L.C.

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