One aspect of clay work that is both a blessing and a curse is that the clay worker needs to contend with a lot of messy reality. To get particular glaze colors and effects, a host of natural (and hence variable) materials need to be tested, and each result under different firing circumstances and on different underlying clay bodies. While this process is fascinating to me, the infinitude of possibilities makes me marvel at times how claywork ever comes out with any consistency.
Here is some information about kiln, firing protocols, and the prospected materials I’ve found useful and interesting.