Mastering Cone 6 Glazes book review

Mastering Cone 6 Glazes, cover of 2020 reissue.

Mastering Cone 6 Glazes is a classic glaze book originally published in 2002 that is still relevant today, especially if you make functional pottery. With a subtitle of “Improving Durability, Fit and Aesthetics” the book by John Hesselbarth and Ron Roy contains a series of chapters explaining how to mix glazes, how to test them, and then gets into the nitty gritty of making stable glazes, fitting the glazes to your clay bodies, ideas for reducing cutlery marking, and how to develop your own glazes. The book was republished in 2020 and is available in paperback with non-glossy images throughout. (The images aren’t the greatest quality, but they get the job done.)

A lot of the information in this book is now available online in various places—including many of the glaze recipes—but if you’re like me, you may find a well organized book to be incredibly helpful in explaining the science and ideas behind making a stable glaze that is durable and hopefully doesn’t craze or result in cutlery marks. This book was a much needed update to the practical experience I’ve acquired along with the hazy memories of the clay and glaze class I took many, many years ago.

The back cover.

In addition to the science behind the glazes, the authors provide a series of glaze recipes, which they have tested extensively for fit, leaching, and cutlery marking. As they claim in the book, these might be the most thoroughly tested glaze recipes in recent history.

That’s not to say the book is perfect or right for everyone. A few points:

  1. The book is really aimed at production potters and those making glazes for functional surfaces like eating or tiles, who are firing at cone 6 in oxidation kiln atmospheres.

  2. You can find similar how-tos and glaze-science explainers in a variety of other glaze books or online, but this is one of the most thorough and understandable explanations on these topics I’ve encountered in print form.

  3. Materials have changed since the book was published. A good number of the recipes contain G-200 Feldspar, which is no longer available. Apparently the ebook version contains updated recipes, but if you buy the print edition, plan to spend some time looking at the reformulated recipes on the book’s website.

  4. To my knowledge, the printed book has not been updated since 2002. I believe that what you are getting with the 2020 reissue is exactly the same as the 2002 edition.

More details on the book and images will be posted below, but if you are a production potter, this is a book you should definitely read and contend with, to help understand if you are making glazes in a safe effective way. This greater understanding will help guide you as you choose glazes for your pots, wether or not you use the recipes from this particular book.

Mastering Cone 6 Glazes
by John Hesselbarth and Ron Roy
Reissued in 2020 by Echo Point Books & Media
168 pages. Typically available for around $30


Table of Contents page 1

Table of Contents page 2

More details on Mastering Cone 6 Glazes

Let’s go through chapter by chapter:

Introduction and Chapter 2 introduce the book, ideas of food safety, and how to set up and glaze ceramic work. This is probably info you’ve encountered in a class or studio, but it’s a good refresher.

A 2-page spread from Chapter 3, including images of the lemon test on glazes.

Chapter 3 covers testing glazes for stability and fit. While the authors ran their glazes through professional testing laboratories for leach testing, they also describe some tests you can do in your own studio such as a lemon slice on glaze. They also go into detail on more considerations including resistance to alkalis, thermal shock, knife and cutlery marking, and more. The authors are thorough on this topic.

Chapter 4 covers information on making a stable glaze, and how that is defined. In short, they are looking for a glaze that doesn’t leach, doesn’t mark, and doesn’t craze. Lots of ideas and recipe limitations are introduced.

A 2-page spread from Chapter 5

Chapter 5, which covers glaze fit, was definitely a chapter I had to read 2 or 3 times to fully understand. The authors introduce using a dilatometer to measure glaze expansion and contraction, but as that is an expensive tool for most, they’ve done an amazing thing by introducing 5 different glazes with different coefficients of expansion. (None of these glazes are recommended in chapter 6, they are simply glazes to test for crazing/dunting/glaze fit on clay bodies in your studio) Their idea is that you can use their dilatometer-tested glazes on your own clay bodies. By noting which recipe will result in crazing on your clay body or not, you will have a good idea what the coefficient of expansion is in each clay body you use. You can then use this info, along with glaze programs such as glazy.org or DigitalFire, to more easily identify glazes that will have a good glaze fit with your clay. It’s a pretty good tradeoff to buying your own dilatometer.

The recipes in chapter 5 all contain G-200, which is no longer available, so the authors have helpfully posted reformulated recipes here, but you’ll need their explanation in the book to fully understand what they are proposing with this series of tests. The authors also tested their glazes on Standard Ceramic clay bodies #365 and #306, but the idea is that you can test these glazes on the clay bodies you use, to determine the best fit.

Chapter 6 includes the authors glazes for cone 6 stoneware and porcelain. Out of respect for their intellectual property, I’m not going to post recipes here, but many are now available online on various sites. These glazes have all been tested in studio and leach tested in laboratories, so you can be assured the glazes are safe. Because of this rigorous testing, there are not a lot of recipes but it’s definitely enough to get started. Included are:

A 2-page spread from the glaze chapter, with images showing how the base glazes can be transformed using various oxide combinations.

  • 2 high-calcium semi-matte base glazes with 3 color variations each

  • 2 glossy base glazes with 5 color variations total

  • 1 glossy clear liner glaze

  • 1 zinc semi-matte base glaze with 6 variations

  • 1 chrome-tin pink glossy glaze

  • 2 brown glazes

  • 1 cone 6 “maiolica” white glaze

It’s not a lot of glazes, but the authors’ research and testing is much appreciated.

Chapter 7 includes info on developing your own glazes using all the information in the book. As one can see with many of the recipes included in this book, materials will change over time so it’s not a simple matter of just having a recipe. It’s about understanding the chemistry and science of the glaze, along with developing the aesthetic touches that you want in your ware.

The book then concludes with almost 60 pages of more info and appendixes.

All in all, this book felt like working through a workshop on cone 6 glazes with a detailed approach by two instructors who were super excited and committed to their material.

Conclusion and Other Glazes to Research

While Mastering Cone 6 Glazes is a great book, it should be mentioned that as of this writing, the info in the book is 20 years old. It’s not that the science has changed—all of that info holds up—it’s just that you may have other desired outcomes for your glazes along understanding all the science presented in this book. The matte glazes in MC6 are high calcium mattes, and there are other recipes with different materials. With that in mind, you might want to review other glaze recipes and approaches that have become quite popular since this book was written. Also, the MC6 authors focus on color variations using oxides, and you may wish to go with stains for your colorants. With any of the options, the takeaway from this book is that you need to master the science, and then apply it to your own clay and firing conditions.

DigitalFire has a bunch of recipes for a variety of glaze temperatures posted here. Of these, I’d look most closely at the cone 6 glazes G1214Z silky matte, G2934 Magnesium Matte Glaze, and G2926B Clear Glossy. These are public recipes, and two of these glazes are available for purchase from Plainsman Clay.

The other glaze that is so popular these days is the buttery Katz-Burke Matte, which can be found on glazy.org.

To conclude, I really value the Mastering Cone 6 book for really getting me to dig into Seger unity formula and understanding things like Coefficient of Expansion in clay and glaze. It was a technical read, but this book was the key that really unlocked a deeper understanding of how to approach cone 6 glazes to get the best glaze fit and reduce cutlery marking. Sure, you can find much of the same info in other books or online but for $30, I was happy to read along in this well presented book, which will become another vital resource in my studio.

Orton Pyrometric Cone Chart in Fahrenheit and Celsius

melted orton pyrometric cones 5 6 and 7

Melted large Orton pyrometric cones 5, 6 and 7. Cone pack is pictured after being removed from the kiln.

Pyrometric cones are designed to melt at certain temperatures in a kiln. They measure “heat work” during a firing, or time plus temperature. A digital pyrometer can give an accurate temperature, but pyrometric cones are useful for determining how the firing went for your ceramic ware, and they can be useful for noting if you have different temperature zones in your kiln. The rate of the firing, or the speed at which the temperature climbs per hour, can determine when the cone bends.

Generally, a cone accurately measures the temperature when it has bent to approximately “9pm” on the left side.

Pyrometric cones can be purchased at ceramic suppliers, or in the US shop Orton Cones at Blick.

Most kilns now have temperature sensors, but you can also purchase high-temperature thermocouple sensors that can be moved from kiln to kiln. Shop High Temperature thermocouple at Amazon.

Below is a chart of temperature equivalents for cones. This chart is for large cones, and the temperature rate measures the last 90 to 120 minutes of firing.



Orton Pyrometric Cone Chart in Fahrenheit and Celsius

Cone number 60°C/hour 108°F/hour 150°C/hour 270°F/hour
019 676°C 1249°F 693°C 1279°F
018 712°C 1314°F 732°C 1350°F
017 736°C 1357°F 761°C 1402°F
016 769°C 1416°F 794°C 1461°F
015 788°C 1450°F 816°C 1501°F
014 807°C 1485°F 836°C 1537°F
013 837°C 1539°F 859°C 1578°F
012 858°C 1576°F 880°C 1616°F
011 873°C 1603°F 892°C 1638°F
010 898°C 1648°F 913°C 1675°F
09 917°C 1683°F 928°C 1702°F
08 942°C 1728°F 954°C 1749°F
07 973°C 1783°F 985°C 1805°F
06 995°C 1823°F 1011°C 1852°F
05 1030°C 1886°F 1046°C 1915°F
04 1060°C 1940°F 1070°C 1958°F
03 1086°C 1987°F 1101°C 2014°F
02 1101°C 2014°F 1120°C 2048°F
01 1117°C 2043°F 1137°C 2079°F
1 1136°C 2077°F 1154°C 2109°F
2 1142°C 2088°F 1162°C 2124°F
3 1152°C 2106°F 1168°C 2134°F
4 1160°C 2120°F 1181°C 2158°F
5 1184°C 2163°F 1205°C 2201°F
6 1220°C 2228°F 1241°C 2266°F
7 1237°C 2259°F 1255°C 2291°F
8 1247°C 2277°F 1269°C 2316°F
9 1257°C 2295°F 1278°C 2332°F
10 1282°C 2340°F 1303°C 2377°F
11 1293°C 2359°F 1312°C 2394°F
12 1304°C 2379°F 1324°C 2415°F


How to Test Specific Gravity in a Ceramic Glaze and Why It's Important

glass hydrometer used to measure specific gravity of a ceramic glaze

A hydrometer is one of measuring the specific gravity of a glaze. For ceramic glazes, use a hydrometer that measures between 1.00 and 2.00.

Testing the specific gravity of a ceramic glaze allows you to accurately measure the ratio of dry materials to water in a glaze, or basically how “thick” a glaze is. It also allows you to maintain a glaze over time, and remix more that will be exactly the same.

Keep in mind that there is not one specific gravity for glazes, instead, each glaze will vary slightly based on the materials in the glaze and the desired application. But in general, glazes range from 1.40 to 1.60.

There are also a few methods of measuring the specific gravity of a glaze. In this post, there will be three options covered:

  • using a hydrometer

  • measuring in a graduated cylinder

  • measuring in a cup



Table of Contents

  1. What is Specific Gravity?

  2. Measuring Specific Gravity with a Hydrometer

  3. Measuring Specific Gravity with a Graduated Cylinder

  4. Measuring Specific Gravity with a Small Cup

  5. Equipment Needed for Measuring Specific Gravity

  6. Summary



What is Specific Gravity in a Glaze?

Specific gravity measures the ratio of dry materials to water in a glaze.

As an example, if you had 150 grams of dry materials mixed with 100 grams of water, your glaze would have a specific gravity of 1.50 (150 / 100 = 1.50)

Water alone has a specific gravity of 1.00 — this will be important in our calculations.

Measuring Specific Gravity with a Hydrometer

Hydrometers are fragile glass tubes with a metal weight and scale.

A hydrometer is a glass tube with a leaded weight that is designed to float and measure specific gravity. They are quick and easy to use, provided that your glaze bucket is deep enough, but they are fragile—extremely fragile. Despite this, they are my favorite way to measure specific gravity. I’ve been using the same hydrometer for years, I just make sure to not drop it and carefully wrap it in paper towels and put it in its box when not in use.

When choosing a hydrometer, make sure to pick a “heavy liquid” or “heavier than water” hydrometer, as there are a variety of hydrometers for different applications. (Shop hydrometers at Amazon)

How to Use a Hydrometer

For glazes, you will need a “heavy liquid” hydrometer that measures between 1.00 and 2.00.

After mixing a glaze, simply place your hydrometer carefully into the glaze bucket and allow it to settle, and then take a reading.

Hydrometer measuring a ceramic glaze at 1.50

A hydrometer measuring a glaze at 1.50. In this instance, the glaze was placed in a graduated cylinder to create a tall enough column for the hydrometer to floate.

Alternately, if your glaze bucket is not tall enough, pour glaze into a graduated cylinder or smaller bucket, and then take a measurement (as pictured).

Hydrometer in a graduated cylinder to measure specific gravity of a ceramic glaze

After taking your reading, adjust your glaze as needed. In general, I like to add water slowly until I reach my desired specific gravity. You may also need to wait a day and then measure again, to make sure your glaze is just how you want it.

As you use your glaze, note the results you are getting out of the kiln and adjust your glaze if needed. Taking notes really helps!

For every glaze I mix, I note the specific gravity when initially mixed. Then, if it seems to be getting thick or changing in some way (water does evaporate over time!) you can measure and adjust.



Measuring Specific Gravity with a Graduated Cylinder

If you don’t have a hydrometer, you can measure a glaze with just a graduated cylinder. Use a cylinder that can measure at least 100 milliliters and a scale. You will need a scale that is accurate to 1 gram or even better, 0.1 grams.

For this method, place your graduated cylinder or cup on a scale and zero out the scale.

Then, fill your cylinder to 100 mL and note the weight. As our calculation is (glaze weight / water alone = specific gravity) the calculation is very simple. If the glaze weighs 145, you have a specific gravity of 1.45. If it weighs 150, your s.g. is 1.50, etc.

As before, adjust your glaze as necessary after measuring, and remeasure.

Measuring Specific Gravity with a Small Cup

If you have a scale but no graduated cylinder, you can still measure specific gravity with a small cup.

The best way to do this is to put the cup on your scale, zero the scale, then fill the cup completely full with water. Note the weight of the water and write this down. Even better: write it on the cup so that you have an easy reference.

Then, empty the cup and refill it completely full with glaze and weigh. You will have to do a quick calculation to determine your specific gravity. If the glaze in the cup weighs 375 grams and the water alone in the cup weighed 250 grams, your glaze has a specific gravity of 1.50 (375 g / 250 g = 1.50).


Shop the Equipment Needed for Measuring Specific Gravity

Heavy Liquid Hydrometer and case

This heavy liquid hydrometer is available at Amazon for $12.

Hydrometer

To measure the specific gravity of a ceramic glaze, you will need a “heavy liquid” hydrometer, or one that measures between 1.00 and 2.00. These are available at ceramic suppliers, or at Amazon.

Graduated Cylinder

plastic 250 ml graduated cylinder with octagonal base

Plastic 250 ml graduated cylinder.

A graduated cylinder is handy for glaze measuring, or for creating a taller column to use a hydrometer.

In my studio, I use a plastic 250 mL graduated cylinder. This is big enough that I can float my hydrometer, or use it to measure 100 mL of glaze.

Scale

In my studio, I like to use the Oxo 11 lb kitchen scale. It’s durable, accurate to 1 gram, can weigh up to 11 lbs, is easy to clean, and costs around $55. It’s a great scale at a relatively modest price.

If you want something more accurate, a check out the MyWeigh iBalance 5500. It is accurate to 0.1 grams, can weigh up to 5500 grams (approx. 12 lbs), and costs about $250.

For a complete overview of scales for ceramic studios, click here.


Summary

This post has covered three different methods of testing specific gravity in ceramic glazes, and the equipment needed to measure specific gravity. Measuring specific gravity is important for keeping glazes consistent, so that you will get repeatable results from your firings.

How do you measure specific gravity? Let us know in the comments.

How To Mix a Ceramic Glaze From Scratch

 
A red iron oxide glaze in the process of being run through a Talisman Glaze Sieve.

A red iron oxide glaze in the process of being run through a Talisman Glaze Sieve.

 

This post is an overview of how to mix a ceramic glaze from dry ingredients, including the tools, techniques and procedures to get you started.

Whether you buy a pre-mixed dry glaze or weigh each ingredient, there are a lot of advantages to mixing your own glaze:

  • Save money: Mixing glazes in your studio is always cheaper, sometimes as much as 80 to 90 percent cheaper than bottled glaze.

  • Customize: Learn how to modify slips and glazes to suit your kiln and clay bodies.

  • Learn glaze chemistry: Even a bit of info can help you get the results you want.

A variety of our favorite glaze recipes are posted here, and there are lots of websites and books with glaze recipes. There are endless amounts of glaze recipes, so if you are new to this, just start with one basic one such as a glossy clear. There are also pre-mixed, dry glazes which are effective and still save some money over buying bottled glazes.

Keep reading for the complete how to instructions.


Table of Contents

  • Glaze Mixing Tools and Accessories

  • How To Mix Glazes From Scratch

  • Testing and Storing Glazes

  • Summary



Glaze Mixing Tools and Accessories

Here’s what you need to mix glaze in your studio:


How To Mix Glazes From Scratch

  1. Review recipe.

    Check to make sure you have enough of each ingredient. It can be helpful to calculate and write out the amount of each material, to be used as a checklist.

  2. Prepare work area

    Put on a dust mask, clean your scale and work area. Get your materials, buckets, and scoops together.

  3. Zero scale

    Place your measuring pan or bowl on the scale and turn it on. If needed, press the tare button so that the scale is zeroed out.

  4. Weigh ingredients

    Weigh each ingredient (this is where your checklist is handy) and put them in a dry bowl or bucket. After measuring all the ingredients, mix the dry ingredients together. Some glaze ingredients, such as bentonite, are prone to clumping so it is important to mix everything dry first.

  5. Add to water and mix

    Add the mixed glaze materials to water and mix until it is thick cream or buttermilk consistency. An electric drill with a proper mixing blade greatly speeds up this process. A large plastic scraper will dislodge material from the side of the bucket. Once all the dry ingredients have been mixed with water, you can remove your mask if desired.

    Note: it’s best to add glaze materials to water. If you add water to a bucket of dry materials, it’s hard to get everything in the bottom corners mixed.

  6. Sieve and homogenize

    Prepare another clean bucket with a sieve, preferably a fine 80 mesh sieve. Run the glaze through the sieve this first time, to break up any clumps. A brush can help push material through the sieve, or a Talisman Glaze Sieve is a tool made specifically for mixing glaze into 5 or 10 gallon buckets.

    Then, clean the bucket where you will be storing the glaze. Run the glaze through the sieve a second time into this clean bucket.

  7. Test glaze consistency

    Glazes are typically mixed to a specific gravity, which measures the amount of dissolved solids in the water. Usually glazes are around 1.50, which means 50 parts dissolved solids to 100 parts water. Keep records and mix the glaze to a consistency that works for you.

    Specific gravity can be measured with a specialized (but fragile) hydrometer, or you can use a graduated cylinder on your scale. With your cylinder zeroed out on the scale, pour in 100ml of the mixed glaze and check the weight. Add water as needed, and mix.

  8. Label and store

    Glaze containers and lids should be labeled with the name, temperature, and any other information that will help you. Laminated, waterproof labels are best but packing tape can also protect a label for some time.



Testing and Storing Glazes

Testing Glaze

It is helping to make a test tile of a glaze, on each clay body you use. Vertical test tiles such as tubes from an extruder are best, as they show how a glaze will “move” with gravity. Dip your test tile with one and two dips to show how different thicknesses of glaze affect the color.

Some studios choose to make a test tile with each batch of glaze. But if you are careful to mix the glaze accurately to a similar specific gravity, and your firings are repeatable, you should get roughly the same glaze results each time. There are no guarantees with glaze though. It is important to keep records, both in a glaze book and a kiln log, in order to get standardized results. But, glaze materials do change over time so as necessary you can make new test tiles.

Storing glazes

Glazes can be stored in sealed containers or buckets almost indefinitely. Most glaze ingredients are inorganic and will not rot. But some ingredients, such as bone ash, can cause some rotting smells. To avoid this, make sure the glaze is mixed with some frequency. If the odor persists, you can add a trace amount of copper to any glaze (even white glazes!) without affecting the color. Copper is an anti-fungal and can cut down or eliminate odor. Read our post on that here.

Remixing glaze

As they are used, glazes do lose some moisture to evaporation and bisqueware can suck extra water out of the glaze mix. It can be helpful to mix and then do a quick visual check of the glaze. If necessary, you can re-check the specific gravity and add water. If a glaze seems thick or is glopping onto your pieces, it’s definitely time to check it and probably add water.

In addition, when I mix glaze, I will usually run all the old and new glaze through a sieve. Small bits of bisque and other contaminants can fall into a glaze bucket. When I’m using it, I want to know what I’ve got in that bucket. It does take extra work but having a double-sieved, homogenized glaze will result more even glaze application and hopefully, better results.


Summary

This post has covered a basic overview of mixing glazes from scratch. It covered the tools, techniques, and a few helpful hints to mix and store glazes. If you can follow a recipe, you can mix glaze. There is an overwhelming amount of glaze info out there, but if you start with just one basic recipe and grow from there, you will be a glaze master in no time and you will be able to customize and mix glazes to suit your own needs.

If you are looking for more info on mixing glazes, the glaze books by John Britt are some of the best resources.

The Complete Guide to Mid-Range Glazes

Buy at Bookshop.org

Buy at Amazon

The Complete Guide to High-Fire Glazes

Buy at Bookshop.org

Buy at Amazon

Questions or comments? Let us know in the comments.


The Best Glaze Mixing Accessories For Ceramic Studios

Mixing your own glazes from scratch is cost-effective and allows you to customize glazes to suit your studio. Whether you are mixing a powdered glaze with water, or weighing each ingredient and starting from scratch, having the ability to mix glazes opens up possibilities in your studio. You don’t need a huge set up to get started, a few simple tools and buckets are all you need. Below are reviews of our favorite glaze-mixing accessosories.

This list includes:

  • Drills

  • Immersion Blenders

  • Sieves and Strainers

  • Dust Protection

  • Mixer Blades

  • Scales


Drills

A drill is one of the most important glaze-mixing tools. Sure, you could get a big whisk or paddle and mix your glaze by hand, but….I wouldn’t recommend it.

For a drill, my favorite is the Milwaukee M12 3/8” Drill. It’s compact, well built, and affordable. And it has enough power to mix a 5 gallon bucket and just enough power to mix 10 gallons of glaze. It’s also cordless, which I find easier to use in the studio but you do sacrifice some power and you’ll have to deal with recharging batteries.

There are a lot of drill options out there, with all sorts of options, battery and cord styles. For more info, check out the Studio Manager Cordless Drill Review and our Corded Drill Review



Immersion Blender

For small batches of glaze, especially test batches, an immersion blender is a great tool. Designed for kitchen use, these definitely have enough power to hold up in the studio. I would just make sure you have one dedicated for studio use and a separate blender for kitchen use.

For an immersion blender, I have never noticed much of a difference between name brands and generics. You just want a blender that will work and get your glaze mixed. A great option for this is the Mueller Austria 9 Speed Immersion Blender. You probably don’t need all those speeds, but it does have a turbo button which speeds things up. And at around $30-35, this is one of the more affordable immersion blenders on the market.


Sieves and Strainers

A sieve is an important part of mixing glazes. A sieve insures that particles are broken up and that the ingredients are evenly distributed in the glaze. Proper mixing and straining also reduces glazes flaws, generally resulting in a more even glaze. If you are mixing glazes from dry powder or from scratch, you must run them through a sieve. Generally, I have a variety of sieves in the studio including a simple kitchen sieve, a smaller tea strainer, and specialized tools such as the Talisman Rotary Sieve.

The Talisman Rotary Sieve.

The Talisman Rotary Sieve.

Talisman Rotary Sieve

The best tool for sieving glazes is the Talisman Rotary Sieve. This is a large, hand-cranked sieve that will fit over a 5 or 10 gallon bucket. It has three brushes which can be removed for cleaning (or replaced if worn out) and removable screens. This allows you to choose which size of mesh to screen your glaze. Typically, this is done somewhere between 80 to 120 mesh. The Talisman Rotary Sieve is expensive, usually $200-250, but it makes short work of the sieving process and the brush system helps break up smaller particles, resulting in a uniform glaze batch. It’s an incredibly well-built tool and if handled with respect, it will hold up for decades of use. Talisman Rotary Sieves are typically only available from speciality clay supply stores, so shop clay stores online or contact your local clay supplier.

Talisman Test Sieve

Talisman Test Sieve

Talisman Test Sieve

Another option, especially for glaze test batches, is a cup sieve such as the Talisman Test Sieve. These small sieves are stackable, come in a variety of mesh sizes from 5 to 250, and are really well built. You probably just need one or a few, I’d suggest an 80 to start and in my own studio, I generally just use 40 mesh for a rough sieve and 80 mesh for a fine sieve.

Cuisinart Fine Mesh Steel Strainer

Cuisinart Fine Mesh Steel Strainer

Fine Mesh Steel Strainers

Another useful tool is a kitchen steel mesh strainer. These are not fine enough for a final glaze strain, but the wider mesh is still useful for quickly breaking up chunks of material. They are also great for quickly processing glaze in order to remove any bisque chunks or other small things.

When mixing glaze, materials such as Wollastonite, Soda Ash, Borax, Zinc Oxide, and most oxides used for colorants and others must be run through glaze sieve (usually 80 mesh), but if you start with a kitchen sieve, you’ll get the big chunks out quickly and can have an easier time with the glaze sieve. Smaller strainers such as a tea strainer are also useful for quickly running an underglaze or small batch through mesh. Sometimes, a simple mix and strain can bring a thickened glaze, underglaze, or slip back to being easy to use.

A great option for a kitchen steel mesh strainer is the Cuisinart 3 pack of Fine Mesh Metal Strainers. The all-metal design makes it easy to clean and maintain, and the variety of sizes will help with most small to medium glaze batches, or if you need to quickly strain a chunky material before running it through a finer mesh. There is also a link to a similar product by ExcelSteel at Home Depot.


Recommended Sieve Sizes

Here’s a useful chart of recommended sieve mesh sizes to use when mixing glaze, slip, and casting slip.

Suggested Sieve Size.jpg

Face Masks and Dust Protection

Dust protection and personal protection equipment is vital when mixing glazes. The main worry is any sort of airborne particles, particularly the finest particles such as silica. Repeated exposure to these particles, found in all dry glaze and clay materials, can lead to respiratory problems. Some also choose to wear plastic gloves when mixing and using glazes. The best thing when thinking about gloves is to assess your own risk and work to understand what is in glazes and what may be dangerous.

Respirator

The 3M Respirator

The 3M Half Facepiece Respirator with P100 cartridge style filters.

The best dust protection is a respirator. These devices are reusable, fit on your face more tightly than a dust mask, and the filters can be replaced as needed. Although moisture can build up, I find them to be more comfortable than a paper or surgical type mask, and they definitely provide a tighter fit. One drawback though, is you can’t really talk to anyone while they are on.

For a respirator, I have always used a 3M half facepiece respirator with P100 filters. They are usually widely available, so it’s easy to find replacement filters in stores or online. It can be hard to tell if the filters are getting full of dust, so I generally buy new filters every 6 months. It can round around $20 for new filters, but as someone who works full time in ceramic studios, I don’t want to take any risks with my lungs.

If you don’t want to get a respirator, at the very least get a N95 or KN95 mask and wear it whenever you are working with dry glaze or clay materials. Also be aware, fine particles can remain in the air for a while, use caution when mixing and try to keep dust out of the air. For more, see our complete article on dust masks for studios.


Mixing Blades and Paddles

The right mixer blade will make your glaze and slip mixing quick and efficient. It’s best to stock different size mixers for mixing different amounts of glaze. These are the mixing blades I stock in my own studio.

The small Jiffy LM10 Mixer Blade

The small Jiffy LM10 Mixer Blade, also called a laboratory mixer.

Small Mixer Blade

To mix pint jars and small cups, the Jiffy LM10 Mixer Blade is just the right size. It’s 10 1/4” long with a 1 1/4” head.

 
Helix mixer blade for 1 to 2 gallon buckets

Helix mixer blade for 1 to 2 gallon buckets

MEDIUM MIXER BLADE

For one to two gallons, I prefer a helix mixer designed for 1 gallon buckets. It’s cheaper than a metal blade but it can really mix. As long as you don’t grind the plastic blades against buckets, these economical blades should last for years and also work well for jobs such as mixing plaster.

 
The Jiffy ES Mixer Blade for 2 to 10 gallon buckets of glaze.

The Jiffy ES Mixer Blade for 2 to 10 gallon buckets of glaze.

LARGE MIXER BLADE

For 5 or 10 gallon buckets, the Jiffy ES mixer blade is the way to go. It has a 20 1/2” long, 3/8” shaft and the head is 3 3/4” wide. It’s perfect for 5 gallon buckets and it will mix up to 10 gallons as long as you have a strong enough drill (usually a corded drill or a higher powered cordless drill)


Scales and Accessories

A scale is a must-have for mixing glazes. An accurate, durable scale is a great investment. My favorite is the Oxo 11 Pound Scale. To read about other scale options, the Studio Manager scale review can be found here.

The Oxo 11 Pound / 5 KG Scale is great for home or studio use.

The Oxo 11 Pound / 5 KG Scale is great for home or studio use.

The Oxo 11 Pound Scale is designed for kitchen use but it’s a just as useful in the studio. It runs on 4 AAA batteries, and is accurate to 1/8 ounce or 1 gram. A great feature is the pull-out, light up display that allows you to use the scale with larger bowls. The scale has four buttons: a lb/kg toggle, light switch, zero button, and power. The top stainless steel platform can also be removed for cleaning. This scale can accommodate up to 11 pounds or almost 5 kilograms at a time. It’s an incredible amount of features in a scale that typically costs about $50.


Ohaus Maxi-Scoop Bowl

The Ohaus Maxi-Scoop bowl.

The Ohaus Maxi-Scoop bowl.

The Ohaus Maxi-Scoop is my favorite bowl to use when weighing dry ingredients. Made of polypropylene, it is 10 inches wide, has a pouring spout, and is durable and easy to clean. It holds a lot of material, typically up to about 2500 grams, and the open, wider design makes it easier to use in my opinion. Of course, you can use any sort of bowl to measure dry ingredients, but this one just seems to be ideal for scales and it’s the one I reach for first when I’m mixing glaze.


Metal Scoops

metalscoop.jpg

A quality metal scoop makes working with dry materials so much easier. In a pinch, I’ve repurposed small yogurt containers as scoops, but a durable, long-lasting metal scoop is better. For large storage bins or bags, you might get a scoop for each material. Or if you have a collection of 2 to 4 different sizes, you can get through most glaze batches without contaminating between materials, and then wash the scoops after glazing. For really strong ingredients such as red iron oxide, I leave small scoops in each bin so I don’t have to clean the scoops each time I use them.


Wrap-Up

This post has listed my favorite tools and accessories for use when mixing glaze, including drills, immersion blenders, sieves and strainers, dust protection, mixer blades, and scales. It may seem like a lot of stuff, but each tool has it’s role to play in the glaze-mixing process. If you are new to mixing glaze, start with the basics such as a scale, dust-protection and maybe just a wooden spoon, and go from there. You can always add tools as needed.

What are your favorite tools to use when mixing glaze? Let us know in the comments.



The Best Way to Eliminate Odor from a Stinky Ceramic Slop or Glaze Bucket

Updated and revised, September 9, 2023

A dirty, stinky throwing slop trash can in need of some cleaning and copper carbonate, to eliminate odors.

A dirty, stinky throwing slop trash can in need of some cleaning and copper carbonate, to eliminate odors.

Stinky slop and glaze buckets can be a problem in any ceramic studio. The smells range from a swampy, pond-mud smell to a very strong sulfurous odor. All are caused by some kind of organic matter in your clay or glaze.

In addition, some glaze materials such as bone ash or CMC are organic materials and will start to smell over time, especially if the bucket is not stirred regularly.

To deal with smelly buckets, the best practices are to:

  1. Keep organic materials like brush bristles, paper, etc out of your buckets and jars

  2. Stir and mix your materials more frequently

  3. Cycle materials more frequently

  4. Clean your buckets with soap and water, and sterilize them with bleach

Adding bleach? In some studios, bleach is added to slop buckets or clean up buckets and mixed with the clay slop. This is an ok thing to do, but has it’s drawbacks. Usually, the bleach will just mask whatever the problem is for a few days or weeks, and then the smell will return. And I personally don’t like to add bleach to buckets where the material is being recycled such as clay slop buckets. And if you add too much bleach, the slop water can be rough on your hands.

The following article covers some ideas for eliminating odors from glaze buckets, underglaze jars, and slop buckets. Discussed is a somewhat extreme method of adding copper carbonate. In general, I would use this as a last resort after you have tried to cycle material, or clean outed and sterilized the problematic bucket. A little bit of copper can get rid of smells, because of the antimicrobial properties of the element, but using it does have some drawbacks as well.

This practice of adding a small amount of copper carbonate comes from a tip I read many years ago I read in Ceramics Monthly. (I haven’t been able to find the link) The tip from the potter was adding a trace amount of copper carbonate to glaze buckets. My memory is just a gram or two. It wasn’t enough to change the color of the glaze (even in a white glaze), but it was enough to prevent mold growth. If you have a glaze that regularly smells, try adding an extremely small amount of copper carbonate to any glaze, and see if that fixes the problem. The tutorial below also covers adding copper carbonate to slop buckets, in addition to some strategies to deal with smell glaze and underglaze jars.


Table of Contents

  1. How To Eliminate Odor From Glaze Buckets

  2. How To Eliminate Odor from Underglaze Jars

  3. Maintaining and Dealing with Odor in Slop Buckets and Reclaim Clay



How To Eliminate Odor From Glaze Buckets

Stinky glaze buckets happen from time to time. Usually, this is caused by some sort of organic matter. It could also be caused by organic glaze materials such as bone ash or CMC gum. For bone ash glazes, try stirring the glaze more often, or proceed with the copper carbonate fix as detailed below. For glazes with CMC gum, try replacing that with bentonite, which is a very fine, inorganic clay that can help glazes stay in suspension.

Before adding copper carbonate to a stinky bucket, screen the glaze first to make sure you’ve removed any brush bristles, bisque chunks, or other foreign matter. Sometimes, just stirring the glaze more often may eliminate the issue, so try that first!

Method:

Add 1 gram of copper carbonate per 5 gallons of glaze, stir, and wait 24 hours.

That’s it!

Just a bit of copper should take care of the problem, and in such a small amount, it shouldn’t change the color of the glaze. I even did this once with 5 gallon bucket of white glaze. A little risky, but it worked without changing the glaze color.

If you are nervous about adding copper carb, or if your studio scale is not very accurate, try measuring the smallest amount you can, such as 2 or 5 or 10 grams, and then physically dividing it up to get down to something like .5 grams or 1 grams, and add that small amount to your glaze. If the smell isn’t gone in 24 hours, repeat the process.

If the copper carbonate doesn’t solve your problem, don’t keep adding it past 2 or 3 grams. Eventually, you will add enough to alter the color of the glaze. If the problem persists, you may have to discard the glaze and start over with a fresh batch.


How to Eliminate Odor from Underglaze Jars

Underglaze jars can get really stinky. Some in particular, such as the various reds from the Amaco Velvet Underglaze line, seem prone to getting stinky.

To prevent odors with underglazes:
> Remove any cardboard liner from the caps
> Stir to mix. Don’t shake all the underglaze against these cardboard liners
> Try to prevent brush bristles from dropping in
> Keep any other organic matter out of the jar

But if your underglaze gets stinky? There may not be much you can do. It’s such a small volume, and our best remedy, copper carbonate, is a colorant. Still, you can try adding a very small amount of copper, approximately 1 gram or less. Stir into your underglaze, cap it up, and wait 24 hours. Check and repeat if necessary. Caution: you will change the color of your underglaze if you add copper to them! I’ve done this a few times with the extremely-prone-to-stinkiness Bright Red Velvet Underglaze. The copper mutes the red a bit, but it’s actually a lovely result that is still red.

But the conclusion is, there may not be much you can do for a stinky underglaze except to tolerate it and/or discard and buy a new jar.


Maintaining and Dealing With Odor in Slop Clay Bucket

A slop bucket is a great way to reduce the amount of clay going into your sink and can also be used for initial cleaning of splash pans and throwing buckets. If there was room, I’d have a series of three of these for cleanup. But in the studio I manage, there is just one 40 gallon trash can with a mesh lid. It’s used to collect all the throwing slop.

Ideally, this trash can gets completely emptied about once a month and the heavier slop is saved and mixed with reclaim clay. But while the slop is building up, the bucket can get pretty stinky. And if you recycle stinky slop, then you have stinky reclaim clay (although the process of mixing does seem to help alleviate some problems with smell.)

The first step I would take with a stinky slop bucket would be to completely empty it and clean with soap. Then, sterilize the bucket or trash can with bleach and let it dry completely. Usually this will eliminate your stinky slop bucket problem for at least a few months up to 6 months. Slop buckets will always get smelly at some point so just plan to fully clean and sterilize it on a regular schedule.

A more extreme solution is adding a small but regular dose of copper carbonate to your slop bucket. Caution: adding copper carbonate to reclaim clay may result in small green spots showing up through white or clear glazes as you are adding copper to your clay! Use this method at your own risk.

The tutorial below covers maintaining a slop bucket with copper. As mentioned, try cycling your materials more regularly, keep organic material out of your bucket, and give your bucket a deep clean before trying this method!:

Step 1: Remove water, add copper carb, and stir

Ideally, the slop bucket is a settling tank so that heavier clay particles will separate and fall to the bottom. Pictured here is a 40 gallon trash can. As the can fills to the top and settles, pull off the top 10 gallons of water. This watery slip goes down the sink in my studio, but you could choose to let it settle and then decant.

After taking off the top 10 gallons, add about a half a spoonful of copper carbonate. This is about 2-3 grams of copper carbonate.

After adding the copper carbonate, stir or mix the whole slop bucket with a drill. It helps to disperse the copper.

Add about 1/2 spoonful of copper carbonate per approximately 20-30 gallons of slop.

Add about 2 to 3 grams (about 1/2 spoonful) of copper carbonate per approximately 20-30 gallons of slop.

Copper carbonate on the surface, ready to be mixed into the slop.

Copper carbonate on the surface, ready to be mixed into the slop.

Step 2: Clean the Lid

A clean lid for our slop bucket.

A clean lid for our slop bucket.

Not exactly necessary, but a regular lid cleaning makes it easier to maintain and inspires respect from your fellow studio mates.

It’s a bit hard to see in the picture, but I am are using my favorite pro-grade cleanup sponges.

For the lid on our bucket has a DIY screen made by cutting a hole in the trash can lid and attaching rubberized mesh with nuts and washers. The mesh helps to keep tools, sponges, and large chunks of clay out of the slop bucket.

 

Step 3: Repeat as Necessary

Our bucket with a clean lid and a bit of copper to prevent any stinky odors.

Our bucket with a clean lid and a bit of copper to prevent any stinky odors.

As stated above, it takes us approximately 1 month to end up with about 15 gallons of heavy slip but usually every week or more often, I remove the top layer of watery slip from the bucket. Every time water is removed, I add copper to the bucket.

Once there is 15 gallons or so of heavier slop at the bottom of the bucket, I remove it and put it in 5 gallon “settling tanks,” This watery slop is then poured over dried out scraps or added to the pugmill as needed. It’s the best way I can think of to capture all the fine particles left over from the throwing process. I’ve also found that as this slop with copper moves through the reclaim process, it combines with other clay and helps keep that reclaim from getting stinky too.

Occasionally, I do notice a little green copper speck popping into a white glaze from the reclaim clay, so if you want to be extra careful, use the least amount of copper necessary, or mix it into a watery slurry before adding to your slop bucket.

Summary

This post has covered a variety of ways to deal with smelly glaze, underglaze, and slop buckets. Also detailed is how to use copper carbonate to eliminate odor in glaze buckets, underglaze jars, and slop buckets. It’s an effective and affordable way to manage the inevitable odors that arise in a ceramic studio.

Do you have any other techniques for maintaining odor-free slop and glaze buckets? Let us know in the comments.

Shop materials and tools mentioned in this post:



Spectrum Underglaze Cone 6 Test Tiles

Spectrum underglazes are dependable, have great colors, and are economical. I use a few of the Spectrum 500 series, along with a mixture of AMACO Velvet Underglazes, AMACO LUG underglazes. Spectrum has a few colors, such as orange and bright green, that have hues I can’t find in other lines. And they are often waaay cheaper than other underglazes.

Spectrum 500 series underglazes can be color-mixed with other underglazes or slips like paint, and can be applied with a variety of tools including brushes, spray guns, sponges, or really any way you can think to get them to stick. They are also perfect for scraffito, stenciling, marbling, and other decorative techniques.

Spectrum underglazes are available in a variety of sizes, including 2oz, 4oz, and 16oz pints. Expect to pay anywhere from $15 to $20 for a 16oz pint of underglaze, making these some of the most affordable underglazes on the market. The best place to find Spectrum Underglazes are with speciality ceramic suppliers, such as The Ceramic Shop in Philadelphia.



Spectrum 500 series underglazes are designed for cone 05 to cone 6. For best results, test in your kiln first. The following images of Spectrum Underglazes test tiles were fired at Cone 6 in oxidation on a speckled clay body, to illustrate what these colors look like underneath the Glossy Clear and Milky Clear cone 6 mid-range glaze recipes. But they will also work underneath a commercial clear glaze. Try them at high fire too, most colors will stay true. For more information about Spectrum Underglaze, please visit the manufacturer’s site.



Spectrum 500 Series Underglaze Cone 6 Test Tiles

All images show 1, 2, or 3 coats of underglaze painted on a speckled stoneware fired to cone 6 in oxidation. The left side of the tile shows Cone 6 Glossy Clear glaze on top, the middle section is unglazed, and the right side is the underglaze underneath Cone 6 Milky Clear glaze. As commercial underglazes are quite expensive, I like to pair them with economical clear glazes that are mixed from scratch.

Spectrum 513 Mahogany Brown painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

Spectrum 513 Mahogany Brown painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

 
Spectrum 563 Bright Orange painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

Spectrum 563 Bright Orange painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

 


Spectrum 564 Bright Green painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

Spectrum 564 Bright Green painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

 
Spectrum 567 Fire Engine Red painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

Spectrum 567 Fire Engine Red painted in 1, 2, and 3 coats on speckled stoneware and fired to cone 6 in oxidation.

 

About Underglazes

Underglazes are the best way to apply saturated, bright colors to your ceramics. Not quite a slip and not quite a glaze, underglazes contain metallic oxides or mason stains to achieve the desired color, and manufacturers generally mix underglazes with some sort of gum material that helps with brushability and getting the material to stick. That versatility allows them to be painted on leather hard greenware, bisqueware, and they will even stick on top of glaze for a refire.

Do you have a favorite underglaze? Let us know in the comments.



AMACO LUG Underglazes Cone 6 Test Tiles

The Liquid Underglaze (LUG) line from AMACO is an economical, quality option for ceramic underglazes. They can be easily color-mixed like paint with other underglazes or slips, and can be applied with a variety of tools including brushes, spray guns, sponges, or really any way you can think to get them to stick. They are also perfect for scraffito, stenciling, marbling, and other decorative techniques.

LUG underglazes are available in a variety of sizes, including 2oz jars, 16oz pints, and some colors come in gallon jugs. Expect to pay anywhere from $20 to $30 for a 16oz pint of underglaze. Yes, they can be a bit expensive but if anything, they are a bit cheaper than many similar colors in the AMACO Velvet Underglaze line. If you are unsure where to start, a great way to sample colors can be to buy a few 2 oz jars and test them out.

LUG underglazes are designed for cone 06-04 low fire underneath a low fire clear glaze, but most colors stay true at mid-range (cone 5-6) and high fire (cone 8-11). For best results, test in your kiln first. Below, I’ve posted images of LUG Underglazes fired at Cone 6 in oxidation on a speckled clay body, to illustrate what these colors look like underneath our favorite Glossy Clear and Milky Clear cone 6 mid-range glaze recipes. But they will also work great underneath a commercial clear glaze. Try them at high fire too, most colors will stay true.



To make a complete palette of colors, I use a mixture of AMACO Velvet Underglazes and Spectrum 500 series underglazes along with LUG underglazes. The LUG underglazes I’ve tested all stay true to color at cone 6, although some do begin to melt into satin or shiny glazes on their own. For more information about LUG Underglaze, check out AMACO’s site.


AMACO LUG Underglaze Cone 6 Test Tiles

All images show 1, 2, and 3 coats of underglaze painted on a speckled stoneware fired to cone 6 in oxidation. The left side of the tile shows Cone 6 Glossy Clear glaze on top, the middle section is unglazed, and the right side is Cone 6 Milky Clear glaze. As commercial underglazes are quite expensive, I like to pair them with economical clear glazes that are mixed from scratch.

AMACO LUG-1 Black Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at cone 6 in oxidation.This is a very dark black that is similar to the AMACO Velvet Underglaze black.

AMACO LUG-1 Black Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at cone 6 in oxidation.

This is a very dark black that is similar to the AMACO Velvet Underglaze black.

 
 
AMACO LUG-10 White Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at Cone 6 in oxidation.This is a bright white. To my eye, it is very similar to the Velvet Underglaze white.

AMACO LUG-10 White Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at Cone 6 in oxidation.

This is a bright white. To my eye, it is very similar to the Velvet Underglaze white.

 
 
AMACO LUG-15 Warm Gray Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at cone 6 in oxidation.A kitten-gray option for underglaze.

AMACO LUG-15 Warm Gray Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at cone 6 in oxidation.

A kitten-gray option for underglaze.

 
 
AMACO LUG-22 Dark Blue Underglaze painted in 1, 2 and 3 coats on speckled stoneware fired to cone 6 in oxidation. At mid-range or higher, this underglaze will turn satin / glossy as shown in the middle unglazed section.This is a deep, saturated blue…

AMACO LUG-22 Dark Blue Underglaze painted in 1, 2 and 3 coats on speckled stoneware fired to cone 6 in oxidation. At mid-range or higher, this underglaze will turn satin / glossy as shown in the middle unglazed section.

This is a deep, saturated blue/almost black that can turn a deep ultramarine under certain clear glazes.

 
 
AMACO LUG-25 Turquoise Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at cone 6 in oxidation.This is a great option for a solid, opaque turquoise underglaze.

AMACO LUG-25 Turquoise Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired at cone 6 in oxidation.

This is a great option for a solid, opaque turquoise underglaze.

 
 
AMACO LUG-31 Mahogany Brown painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.This is a rich, chocolate brown underglaze.

AMACO LUG-31 Mahogany Brown painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.

This is a rich, chocolate brown underglaze.

 
 
AMACO LUG-43 Dark Green Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.LUG-43 is an opaque forest green that is similar to a chrome oxide green.

AMACO LUG-43 Dark Green Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.

LUG-43 is an opaque forest green that is similar to a chrome oxide green.

 
 
AMACO LUG-50 Pink Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.This is the best pink underglaze that I have found. It is bright, opaque, and birthday-cake pink.

AMACO LUG-50 Pink Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.

This is the best pink underglaze that I have found. It is bright, opaque, and birthday-cake pink.

 
 
AMACO LUG-61 Bright Yellow Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.This is one of the brightest, most intense yellow underglazes on the market. And for some reason, the LUG Bright Yellow is much mor…

AMACO LUG-61 Bright Yellow Underglaze painted in 1, 2, and 3 coats on speckled stoneware fired to cone 6 in oxidation.

This is one of the brightest, most intense yellow underglazes on the market. And for some reason, the LUG Bright Yellow is much more economical than the similar yellows in the Velvet Underglaze line.

 
 

About Underglazes

Underglazes are the best way to get saturated, bright colors on your ceramics. Whether it is detailed, layered paintings or covering larger areas, underglazes are great for beginners, students, and experienced professionals. Not quite a slip and not quite a glaze, manufacturers generally mix underglazes with some sort of gum material that helps with brushability and getting the material to stick. That versatility allows them to be painted on leather hard greenware, bisqueware, and they will even stick on top of glaze for a refire.

Do you have a favorite underglaze? Let us know in the comments.