Our Glaze Range
Below is a bit of info we are building about the glazes in our glaze range at each studio. We hope it helps you know a little more about what to expect - though of course, results can vary based on so many factors: clay, glaze, kiln atmosphere, application etc. None of our glazes contain lead or barium, and all are food safe, though we recommend glossy glazes may be more pleasing for utensils / food surfaces.
Best practices for glazing include:
- Mix all material in the bucket very well - at least 30-60 seconds of mixing and include the material settled at the bottom
- Remember that counting is not an exact science and how much your piece absorbs can also depend on the thickness / thinness of the piece
- Use caution layering glazes - test first!
- If the glaze begins to crackle when it is drying, it is almost surely on too thick.
- Glaze consistency should be something like a buttermilk or thick cream.
- Cone 10 Reduction is an atmospheric fire - which means everything in the kiln is lighting up and reacting. This can create total magic - but there is always a bit of variation.
- Test test test test test!
Cornwall Stone: Cornwall stone is a matte glaze, and reactive to the amount of iron in the clay - for instance, warm yellow brown with deep speckles coming through from Rod's Bod. Likely whiter and cooler on more porcelain or white clays. Cornwall Stone is a base glaze - meaning there are no colorants in it, but it is similar in composition to the Lavender, which is essentially the Cornwall Stone Base with a colorant (cobalt.) Cornwall typically layers or blends well if not too thick, with other glazes.
Celadon: Celadons are a huge family of traditional glazes, this is an iron base celadon which is why it appears red in the bucket. The crackle is a signature of a celadon finish. In reduction, this glaze will go soft blue-grey. It may appear green in lighter reduction, neutral or oxidation atmospheres. Typically, celadons don't layer or combine particularly well.
Bringle Yellow: This is a brightly colored glaze that is also reactive to the material composition of clays. It can appear more granny-smith green on darker or iron rich clays and more of a bright optic yellow on white stonewares or porcelains.
Blue: Glossy and stable, this is a true blue that almost always turns out reliably. If not too thick it can be layered under Gitta's Blue for an oceanic affect.
Blue Jean: This is a glaze that over time is revealing itself to be a bit more chameleonic. A friend of us shared this with us - and it is sensitive to atmosphere, temperature and type of clay. At times satin and at times a bit more glossy.
B-18: Made from a very stable satin base glaze (the same as Black Walnut, and others) this glaze got its name because it was #18 on a huge batch of testing we did. The colorant is copper carbonate which is known to be one of the most beautifully colored raw materials, and also one that is one of the most reactive to atmosphere and other elements in the clay and even in other glazes. This glaze loves to show off a variety of results depending on type of clay and thickness of application.
Black Walnut: Also a satin glaze, it can be a taupey color on light clays, show of warmer tones and speckling with Rod's Bod, and be almost monochromatic with the clays like Dark Brown. A stable and utensil scuff resistant base, the colorant is one that's less commonly used but a personal favorite - Iron Chromate.
Banilla: Warm, yellow and at times brown. Banilla also contains iron, so it can react to the base clay. Depending on the glaze/clay fit it can texturally go glossy, particularly on higher shrink clays like porcelain. Over clays that contain iron, like Rod's Bod, Fat Red, etc it may look more brown.
Gitta's Blue: Our stable turquoise blue, plays well with others and like B-18 and Black walnut, a scuff resistant and pleasing surface. Colorants like iron in the clay body can at times override the colorants in this glaze if it is not mixed very very well.
Glossy White: The most stable and reliable glaze in our range - it is always classic. Doesn't run, rarely crazes, and can be more or less opaque depending on the timing of your dip.
Pellegreeno: Named after the colored glass of an iconic bubbly water, this is a newer glaze. It's very similar to our previous green, but with a more intense amount of colorant. Rich and dark on most varieties of clay.
Green to Black: A more textural and unusual glaze that can have warm orangey tones in it. At times almost reptilian.
Lavender: This color is known as being one of the most notoriously incredible when it's just right, but a little difficult to catch. We usually see it as a pale lilac color. At times depending on the clay it can go a little blue. Paler clays usually see more purple results.
Mottled Blue Cream: With rutile in it, this one can range from cloudy taupey to shiny with wild streaks in it - some folks really like to party and put it over the Pete's Cranberry for mottled results. Do not apply over the entire piece if you are layering with it - it will almost certainly run. Best to apply on a lip or edge of a piece if you are layering. Fine on it's own, unless applied too thick (more than 4 seconds.)
Matte Black: Metallic and at times gets bronze or silvery crystallization. Application should range on the lighter side (2-3 seconds.) Black glazes have many colorants in them that are metal, which flux in the reduction atmosphere, making it possible to move around a bit more. Use caution (and cookies!) on thick applications.
Matte White: This white tends to be a little bit of a truer, softer white than Cornwall Stone, but can still portray various metals and speckles from the clay underneath.
Oil Spot: Fun and shiny, this black glaze can have tiny crystallization and also break into a gorgeous red/brown edge. Particularly nice on angled work, which shows of the breaking well.
Pete's Cranberry: A classic copper red, rich and deep in a good reduction. Red glazes are a notorious thing in cone 10 pottery studios - there's iron reds and copper reds. Our firing cycle is calibrated to get the reduction at the right time in order to get the copper reds to hit. The copper carbonate in Pete's Cranberry is actually the same colorant as in B-18. But with different flux, base clay, and glass formers, the results are entirely different!
Ranch Butter: This is our glaze with the highest ingredient count! Ranch Butter can be an incredibly beautiful glossy cream glaze - it has colorants in it to mark it warmer, which is why it can be brown or more tan over medium or brown stoneware. It is very sensitive to being applied to thick! It will crawl if it is too thick - you can always tell if there are three prong cracks in the glaze when dry. Recommended on a dip in, bring out count. Use caution if trying to fill the interior of large vessels with it, as the overall time may end up getting extended while you are glazing.
Reitz Green: This glaze reads colorwise more green to black - if thin or in areas where it breaks it will be a bronzey brown-black. If mixed very well and applied correctly it will create a beautiful green surface. Use caution if glaze bubbles crystalize - those are not food safe, but you can refire if that happens.
RJ Dry Shino: Shinos are another huge family of traditional glazes. Ours likes to occasionally carbon trap, and is sensitive to thick or thin application, as well as base clay ingredients. Truly with shinos, the unexpected is the gift.
Tangerine: Similar to Bringle Yellow, this is also a glossy and brightly colored glaze, which is fairly reliable and consistent. Brighter on porcelain, and a bit earthier on darker stonewares.
Toshiko Black: Metallic, Glossy, sometimes ashy, sometimes silvery - Toshiko is another rich luxe black glaze, for which caution should be used if applying too thick.
Transparent: Transparent is often not truly clear in reduction - there is no colorant or opacifier in the glaze - this why it is called transparent, but it is not truly clear. You can get clearer results by making sure it is not too thick. You can also experiment with underglazes OVER the transparent.
Warm Satin White: Developed to be something like the matte/satin version of Ranch Butter. It has many similarities to that glaze as well - a colorant to make it a warm tone, which can go brown if too thin or over an iron or warm clay, and also sensitive to being applied to thick - and will crawl if that's the case. Mix very well, dip in and bring out, and keep an eye out for any cracking while drying. A great smooth surface and utensil scuff resistant.