Sandy Stoneware:

40 – EPK
28 – Goldart
16 – Custer
12 – Silica (fine)
4 – Sand (coarse)

100# total dry weight

Notes: This stoneware is very strong while throwing and altering. The sand gives it a rough texture while throwing and trimming. Surface compression pushes the sand particles back down into the clay, or soft sponging can expose the sand and enhance the texture. Exposed sand fluxes leaving cratered pits in the fired surface yielding a localized metallic sheen. This body also flashes very well with a rich range of orange and toasty browns. – Notes from Sam Chumley

Levin Porcelain:

55 – Tile 6 Kaolin
2 – Bentonite
2 – Redart
30 – Custer Feldspar
20 – Silica

109# total dry material

Notes: This porcelain is very glassy in the wood kiln and has a strong tendency to carbon trap and grow crystals in the glassy surface. The small addition of redart gives the body a pink tone in its raw form, but aids in flashing quality in the wood kiln. Flashing colors range from heavy orange-pink blushes to to deeper orange-brownish tones. When this body carbon traps it appears to be a very glossy blue-gray with colorful surface crystals. Glassier sections of this body have a lot of visual depth. Higher areas in the wood kiln tend to yield the orange-brownish tones with less impressive surface.

60 – Tile 6
11 – OM#4
12 – Minspar
12 – Neph Sye
5 – Sand (coarse)

100# total dry weight

Notes: This is a soft porcelain excellent for throwing and altering forms. The coarse sand in the mixture lends throwing stability and green strength for altering. Tile 6 Kaolin lends rich browns with rusty orange to dark yellow flashing in the wood kiln. The sand gives a crunchy texture to the fired body where it fluxes out of the surface leaving metallic white spots. *no photos yet* – Notes from Sam Chumley

Smooth White Stoneware:

40 – EPK
25 – OM#4
13 – Goldart
15 – Custer Feldspar
5 – Silica (fine)

98# total dry material

Notes: This body is very smooth and plastic with durable throwing strength. It throws, alters, and trims very well but it requires lots of compression due to the shrinkage rates of the kaolin and ball clay in the recipe. This body holds up well to long hot firings and requires the extended time at top temperature in the wood kiln to develop its subtle range of color changes. This body stays in the brown tones but when ash builds up blue and green coloration forms over top to create subtle color shifts. This clay body also varies in texture from satin matte to super high gloss with a range in between based on exposure to atmospheric conditions. – Notes from Sam Chumley

Crunchy Stoneware:

44 – Helmer Kaolin
28 – Goldart
16 – Custer Feldspar
12 – Silica

Add coarse sand to taste.
100# total dry material

Notes: This recipe is a variation of the sandy stoneware recipe; modified to be a slightly drier body with added kaolin. Sand can be an addition to this body to your preference rather than figured into the 100# batch as with the other recipe. The more sand that is added the grittier it will be to throw as well as the crunchier it will be after firing. *new recipe no photos yet*

Sharkskin Shino:

7500g – Neph Sye
2500g – OM#4
600g – Soda Ash

10,600 gram total dry material

Notes: This is a very simple recipe for a shino, and it works quite well. Smooth clay bodies will render a smooth semi gloss surface and textured clays with sand or grog it will leave tiny pinholes or divots in the glaze. Also, the iron content of clay will effect fired color as well. Porcelains and white stonewares lend the pink-orange tones where darker stonewares yield deeper reddish-oranges. As with other shinos thicker applications will go creamy white. This is an all around good stable glaze. It has nice variation depending on application but with dependable results.

Tile 666 Slip:

2500g – Tile 6
1000g – OM#4
750g – Neph Sye
750g – Minspar

5,000 gram total dry material.

Notes: This slip can be applied in varying thicknesses to leather hard greenware. It yields rusty oranges, deep browns, and yellow flashing with a matte surface texture. It can crackle around seams so dry slowly. This slip can be applied thinner and dipped or it can be applied thick with a brush or hand. It might be possible to apply a thin coat sprayed onto bisqueware too, experimentation could yield nice results. Small additions of sand to the slip can create a nice pitted texture when heavily fluxed by ash it yields an orange peel texture that resembles salt fired surfaces. Also worthy of experimentation is minor additions of redart or other red clays for enhanced flashing color. The image provided is this thick slip, layered with the same slip applied over the texture with a small addition of redart.