So they have come out of the kiln and although they were fired correctly, they came out much the same as last time. I was a little confused to begin with but after checking the recipe again it started to make a little more sense. The firing was only at 1000 degrees as it is only supposed to set the glaze to the surface. The second firing at 1140 degrees is what brings the colours out. The setting of the under glaze onto the pieces ensures that the colour will not mix with the top glaze which is applied before the second firing and allows for this top glaze to be applied more easily.
I then applied the top coat in different thicknesses, to help me understand how the top coat affects the under glaze. To investigate the whole spectrum of outcomes, I left some pieces without the top glaze and others dipped once, twice, three times and some four times to get a varied range. Once they had dried I took them down to the glaze room to see which oxides I would add. I was interested in being able to see the water like colours of the glazes, but also wanted their colour to shine through. I was expecting this to work best with the pieces that had been dipped in the top coat the most, allowing a plainer colour to work best on top. In the majority of instances I used irons as the watercolours as I was told that these produced the best results. To achieve the green effect, I mixed a small amount of cobalt with the yellow iron. I experimented with painting designs varying in compexity, to see if the patterns would hold their shape and colour or run. I also ensured that I left a few back from each dipping group for future reference. I am very excited to see how this turns out.