The following is a complete list of the clays, slips, underglazes and glazes I use in my studio. As with everything else in ceramics, you have to test things in your own studio to see if they work with your materials. These are a mixture of things I have created, borrowed, or learned from previous experience with peers and educators.
The clay body I created in graduate school fires beautifully to Cone 6 and is a deep, dark brownie color. I currently use Highwater's Earthen red clay, and it is very close in color to what I mix on my own. At this time boxed clay is the best option for me. I fire the clay to a hot Cone 5 in my kiln, if you get this clay too hot it will bloat in the kiln.
Sara's Cone 6 Clay Body
Grog to taste (I usually only add a scoop or two to the first batch then not at all.)
I've been using this all-purpose slip recipe for years. It's stable and fits any clay body I have ever put it on. It looks beautiful low fired and midrange on my pots, and it is also what I used on a high-fire clay body to woodfire in graduate school. It accepts colorants beautifully, and, when thinned-out, pours lovely as a liner or for exterior coverage. I use a little epsom salt if I get it too thin.
I use Amaco Underglazes like watercolors for all my surface decoration on top of my slip in the greenware stage.
All Purpose White Slip Cone 04-10
Frit 3124 18%
I use the same two glazes every firing and add a thinned out lithium wash in certain areas to add movement to the glaze. These glaze surfaces each change dramatically with a slow cooling cycle programmed into the kiln's firing schedule. I don't slow cool now, but have in the past and they both get a much more matte surface.
EM Satin Glaze (from Eric Mirabito via Chandra DeBuse)- Cone 6
Neph Sy 20%
Frit 3124 20%
Add: 4-6% Mason Stain for color
(lithium carbonate 9.5g + Bentonite 0.5 g + 2TBSP water) to select areas to encourage running. Use sparingly on upper 1/3 of pot. Not the insides!