Cone 6 Electric Community Page

This page is intended to highlight the Cone 6 electric work being done in the community and serve as a way to connect and learn. Please include a few pictures and a summary of what you have had success with and how you are hoping to grow with this process.

Holly Dubrasich

I think many have been pondering the lower temp firing for a while-less gas/electricity, less time, better for the planet and air. It is just hard to make the leap since most of us are historically steeped in cone 10 glaze and firing. I know there are quite a few dabbling in cone 6 glazes. I have done a number of cone 6 soda firings with various clay, slips and glazes (6 and 10) and had very nice results. 

Leslie Green

For years I mixed and tested cone 6 recipes and occasionally got good results.  After all that, there are about 3 recipes that I still mix and use, all the rest are mostly Georgies Sculptural/Textural glazes and a couple c/6 Laguna and Coyote glazes.  It is more expensive to go this way, but the results are worth it, especially for sculptural pieces.  Functional pottery is another story.  I find it hard to find commercial food-safe glazes that have variegated color that breaks nicely rather than a solid shiny color, but I have found a Laguna and a Coyote glaze that works for bowls and plates.  

Georgies’ Dry Rust, Turquoise Lagoon, Vanilla Cream, Aqua Gemstone, Kalamata, Sapphire Wood Ash, Mustard Wood Ash, Blizzard Blue work beautifully.  Thickness of application gives a variety of results. 

Laurie Childers

I too would happily focus on cone 6 electric if I could get more interesting glaze results.  It works well for colored slip and a clear glaze, but I’m tired of the plain shiny clear and I do love the painting that atmosphere makes.  (I’ve experimented with Georgie’s clear matt over colored slips and that’s promising.)

You’ve probably done lots of research already.  Steven Hill has done some great work in the direction you are going.  Easy to find online. I saw him at NCECA some years back, and his pots.  He did a lot with manipulating controlling the cooling period – slowing it down at critical periods so that crystals can form.  (As well as overlapping glazes.)   Now that I have a programmable electric kiln, in theory I could control the cooling period for interesting crystal development.  I am happy to volunteer my kiln if others in WCG want to research/work on programming for cone 6 downfiring.  Let’s plan it and let many interested people make and test pieces and glazes.  has some nice images and recipes.

Hope you are all finding creative and satisfying things to do during this physical isolation.  I sure miss our gatherings.

Anthony Gordon

I would be interested in sharing space in cone six firings, so we don’t waste space and energy. We would need to figure a way to not impose on each other. Right now I am making a few variations on a strange glaze first published in 1992 by John Chalke. Leslie has used it, and Ginny. It is not straightforward, a matte pink grey subtle colors. 

  • Upcoming cone 5 firing with space to share. Week of June 29th 2020, possibly Wednesday. Contact Anthony for more information.

Milt Roselinsky

I’ve collected cone 6 recipes from a number of sources for a while, and I’ve adapted cone 10 reduction glazes to cone 6 via adding fluxes, I’ve had the most success with approximately 5% gerstley borate.  

This round I’m testing oilspot glazes from John Britt’s book and silicon carbide reduced reds from that book and from Tom Turner’s cone 9 glaze recipes.  I’ve always liked multicolored “drippy” eutectic  glaze effects that form when layering some cone 10 glazes and I’m trying a bunch of combinations of glazes at cone 6, using recipes from an archive I’ve collected over many years.

Since most of these glazes require a thorough melt I’m using a firing schedule that fires normally to cone 6 and then dropping 50 degrees and holding for an hour.

I was pleasantly surprised by receiving so many positive emails regarding seeing the results.  Since this is just the first try at most of these recipes I expect to need quite a few iterations to get anything usable.

Keith Olsen

I have been working with cone 6 electric since 2016 and it has become mostly exclusive during the pandemic of 2020. My focus has been on functional ware and since I don’t have a lot of studio space I have been using commercial dinnerware safe glaze. I do have interest in making an ash, celedon, or tenmoku type glaze, but have mostly been having fun with the dizzying array of commercial glaze.

I have also had success with a firing ramp adapted from John Britt’s Mid-range glazes book. It’s quite similar to the recommended firing ramp from Coyote glaze. Above is Coyote Shino, Coyote Gun Metal Green, Georgies Grass Green, and Potter’s Choice Satin Oribe

Cone 6 Slow cool ramp to promote crystal growth and minimize pinholes.

  • 100 deg F / hr -> 220 deg F
  • 400 deg F / hr -> 1978 deg F
  • 100 deg F / hr -> 2210 deg F (HOLD 10 min)
  • 999 deg F / hr -> 2050 deg F
  • 100 deg F / hr -> 1400 deg F

I fire every month or so and would be happy to swap kiln space for testing purposes. I have a little Skutt 822 kilnmaster with environment for even heating. I usually turn the environment off when the kiln reaches peak temp to promote slow cooling. I’m hoping to learn more ways to effectively decorate with slip. I like the process of decorating with slip and getting surface variation that way rather than layering multiple glazes (it’s hard enough to get one glaze to work out, right?)

4 Responses to Cone 6 Electric Community Page

  1. Gary House says:

    I really like this page and the work you are doing to find glazes useful to your aesthetic. I have been having fun with the glaze pile on technique which is somewhat equivalent to the acrylic pour process but uses glazes, glass and heat to get the flowing abstract quality for my Cone 6 tiles. They will be on display in the July Footwise window.

  2. Milt Roselinsky says:

    Cone6 clay experiences
    For throwing I mostly use laguna B-mix That’s labeled cone 5. I usually fire to a hot cone 6 and have had good results with no warping and few cracks, although my mugs, which I tend to throw very quickly, suffer from the occasional s crack in the center of the floor. This clay is always a nice throwing consistency and fires very white. Doesn’t work as well for hand building, many pieces have cracked. Costs more than the Georgies clays.

    I’ve started to use the Kristy Lombard Cone 6 g-mix with added 200 mesh grog from Georgies for hand building and some thrown pieces. Doesn’t fire as white and glazes aren’t as bright but it has solved the cracking issues.

    When I want a more toasty raw clay look I’ve tried georgies Mazama and Trail mix cinnamon, both were nice. I thought the Mazama fired to a nicer brown at cone 6 in oxidation. I haven’t been using these iron bearing clays much cuz it stains everything and takes a lot of cleanup to keep the iron from getting into the white clays.

  3. Donna Morse says:


  4. Donna Morse says:

    OK guys, I am bisque firing my pottery right now and I have some questions about cone six. My clay body is Cook’s Pride cone 10 which I know is probably not great for cone six firing but I wanted to use up what I had. My plans are to wipe textured pieces with iron oxide, then glaze a few accents only.
    Long intro, but my question is, Does iron oxide perform any differently fired at cone six as opposed to con 10?

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