Interactions between a glaze and an inlay

The inlay is most noticeable for what is missing, the micro-crystalline encrustations of the original glaze.

First impression, that the inlay flowed over, and burned off parts of the background glaze, as might
an acid etch.

The mask for the inlay was a narrow spiral not more than a quarter inch in width. The inlay glaze is fluid,
liquid like water, and almost all of what is seen is the effect of the inlay flowing through the matrix glaze.

Streaks of red left by the purple aventurine glaze mark an intermixing of the inlay and matrix and represent
a singular composition. As the oxides in the two glazes move at different rates in the interface, the composition
represented by the red streaks will not occur in a line blend of these two glazes. A line blend won't contain
a tile of that color, or be useful in construction of such a glaze.

Lemon yellow crystals also are seen growing in the interface, equally unobtainable intentionally.

The design is created by adhering a mask and then applying the main glaze. After drying, the entire pot is
coated in wax, then the mask is removed and the open area filled in with a second glaze.