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There is a lot of magic, Canadian magic, in this picture. Pretty well every single potter working at mid-temperature needs rutile blue, gloss black, honey amber and transparent glazes (even multiple versions of each). And almost all need a base slip (or engobe). Here they are.
Upper left: GA6-C and GA6-B on light and dark burning bodies.
Upper right: GR6-M and GA6-C on M340 (with black engobe L3954B).
Lower left: GA6-C and GA6-B on M340 (with black engobe).
Lower right: GR6-M, G3914A, G2926BL on slow and fast cooled mugs.
Every glaze company makes multiple variations of each of these, especially rutile blues (or floating blues). Unfortunately, they often do not fit Plainsman Clays. But these do, in fact, they are adjustable (and better in other ways, as well as less expensive). Unfortunately, even though Plainsman Clays mines and makes most of the raw materials and gives out these recipes, it has not been making them, forcing customers to use the American-made products. This is a missed opportunity, hopefully rectified soon.

This picture has its own page with more detail, click here to see it.
For many years, I have processed the clay for these myself, from lumps I get from the raw stockpiles behind the Plainsman plant. These are made from the PR3D raw clay mined near Ravenscrag, Sask. It is the bottom layer of six. It has the most potential for pottery because it is low in contaminants, fine-grained, light-burning and vitrifies well below cone 10. When I remove all particles coarser than 200 mesh (by slurry up and vibratory sieving) this becomes MNS (mother nature's stoneware) all by itself. Left: 200 mesh. Right 325 mesh. Centre: 150 mesh with added ball clay and feldspar to produce porcelain.
My coffee tastes better in these because they symbolize the potential of even the current quarry (as opposed to importing tens of thousands of bags of American clays each year). This is what I dream about. Processing the products past 42 mesh to get porcelain-like bodies. The finer particle size doesn't just unlock plasticity, but it eliminates problems that plague customers: glaze pinholing, fired specks, coarse particles and sand, even inconsistency and poor drying. Couple that with moving to a deposit further east and reduce soluble salts are reduced and clays get whiter. I even dream that this clay won’t get left in the ground, unmined, like what’s been done for the past three minings! Even that these glazes will be made. Is the future under our feet or in Tennessee and Georgia?
Buy me a coffee and we can talk