Donna, thanks for the "thinking out loud" comments. At the studio I used to
be at, which was a community studio, we used a variety of glazes such as
yellow salt, leach white, cd black, cobalt green, copper red, tomato red,
green and amber celedons, coleman purple, temmoku, gold shino, a plain
shino, slate blue, blue jeans, and a couple others glazes which I cannot
immediately recall.

In our recent test batch (at the "new" studio), the leach white, cd black,
temmoku, blue jeans, and cobalt greens turned out ok, but all the other
glazes turned out rather dismal. These results were not unexpected, but we
wanted to try them anyways. The studio owner put the tiles in the part(s)
of the kiln where he thought there was greater amounts of reductions.

The "new" studio uses a lot of bone ash glazes and tends to airbrush/spray
his glazes on his pieces. In the past, I have either dipped or on occasion
painted my glazes on my pieces. I am hoping to develop my own color palette
but do not have a lot of experience with glaze chemistry or glaze mixing. I
recently started reading John Britt's "High-Fire Glazes," but was interested
in what others experienced with glazes formulated for light-reduction.
(i.e., what works well, and what does not; what to stay away from; etc....)

I guess in other words, I liked some of the brighter colors like copper red,
coleman purple, blue jeans, etc..., but know that they will no longer work
the same way. So...

Thanks.

Rick