To make this glaze, I started with my natural green glaze as an undercoat. To which I added, in superposition on the undercoat, my white enamel.
White on green
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Green nature
Here are some pieces made with this enamel:
To find this glaze that I call natural green, my starting point is my Tenmoku recipe. I removed the metaloxide (iron) to experiment with the different oxides in my possession at different concentrations. This type of experimentation allows me to scan a few possible colors on a particular position in a diagram. We often get a lot of waste, but sometimes a notable result appears:
These samples have nickel as the metal oxide. Many times, I had noted tests around browns but I had the good surprise to see a green appear. And what's more, surrounded by a brown as the glaze thickness decreases. This bodes well for some beautiful pieces! So, I decided to explore this track by using the method of research of the cross (Removal or addition of a part of SiO2 or AL2O3).
The result is more homogeneous with a little more alumina or a little less silica. This is why I am continuing my research in this direction by conducting new tests. First with the addition of a little more alumina then by removing silica. Here is the result (we find our cross on the top left):
I choose to select the bottom middle sample which has a beautiful green color that can be seen in nature:
White
The white flowing glaze on black stoneware that I use to make the white glaze on tenmoku gives a white glaze.
Although this glaze flows on black sandstone or tenmoku, it is not the case on clear sandstone. We notice that small brown dots appear randomly.
Oil drop on white
For this effect, I put my white enamel as an undercoat and then, as an overlay, my oil drop enamel.
Some examples of this overlay:
Red sandstone MJ
Hazelnut scales
To make this glaze, I started with my oil drop glaze as an undercoat, to which I added my lavender ash glaze. The first try was the right one.
