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Add a touch of celestial wonder to your pottery with Summer Spice 173 Coyote Cone 6 Glaze! The creamy tan color and sparkling constellation design will elevate any piece to a whole new level. Perfect for your summer collection!
Sundrop is a bright and cheery yellow with a hard glossy surface. It resists staining, scratching and crazing, while providing a warm vibrance to any piece.
A warm color with pink and orange tones that breaks to brown where thin. Looks amazing over black!
Single dip (2-3 coats brushed) Stable, no running, breaks brown to orange over texture and where thin. Nice over texture, slips, underglazes and other glazes. Contains cadmium inclusion stain, food safe in our testing. A glossy surface.
Single dip (2-3 coats brushed) Fairly stable, some running, some breaking. Contains cadmium inclusion stain. Lab test for cadmium release before selling dinnerware. A glossy surface.
Basic Glazing Instructions First you want to apply wax resist to the foot of your pot (where you don't want any glaze). When you dip your pot in bucket of glaze, the glaze won't stick where you have waxed. The glazes become molten glass in the kiln, so if there is any glaze on the bottom, your pot will stick to the shelf. This will wreck your pot and your kiln shelves! Paint a thin coat of wax on the bottom, as well as up the sides at least ¼ inch. All glazes move a little in the firing, and some are quite runny. Always leave enough room for your glaze to flow some without sticking to the kiln shelf. Until you are familiar with a particular glaze, it is better to leave some extra room. Use a thin coat of wax. It works better and dries faster. Let the wax dry for at least 15 or 20 minutes before dipping a pot in glaze. Use an old cruddy brush, they are never the same after using for wax. Clean your wax brush in warm water with a drop or two of dishwashing soap. Be careful not to get the wax where you don't want it, i.e. waxy fingerprints. Before you glaze your work, you should quickly rinse it under cold water. Thoroughly mix the glaze just before you use it. Dipping To coat the whole piece in a single glaze, the easiest technique is to pick it up with a pair of glaze tongs, dip it in, count to three and pull it out. Make sure to empty it as you withdraw it. If you pull a bowl out still full of glaze it will weigh so much that the tongs will break through. Hold it upside down over the bucket to drain the excess glaze. There will probably be some glaze sticking to the waxed areas; wipe off what you can while you are holding it with the tongs. Set the piece down and let it dry. After it is dry enough to handle, turn it over and sponge off any glaze still remaining on the bottom. The foot must be perfectly clean before it can go in a kiln. Brushing For brushing, most glazes need 2 to 3 coats. It is easier to get even coverage if you brush the first coat side to side, then the next coat up and down. Firing These glazes work best when fired between cone 5 and 6 (Orton Standard or Self-Supporting Cones, used as a witness cone placed on the kiln shelf during firing). If you use a kiln sitter you usually have to use a cone six in the sitter to achieve a good cone 5. For automatic kilns, we fire to cone 5 (fast) with a 15 minute hold. Every kiln is different, so you may have to fine tune your firing to achieve the best results.
Texas Rose is a lovely reddish pink, with an interesting mottling to the surface that can only be seen up close. It is also a Texas Two Step Overcoat, which can be layered with Licorice, Coffee Bean, or Brick Red to produce an oilspot effect.
Tiger Lily is a bright and cheery orange with a hard glossy surface. It resists staining, scratching and crazing, while providing a warm vibrance to any piece.
An iron glaze with a light brown to yellow-orange color. Often Toshi Brown will develop surface mottling similar to wood or salt fired glazes, without those special firing processes.
Single dip (2-3 coats brushed) Fairly stable, no running, some breaking. A matt surface.
A deep turquoise color, rough to the touch. Perfect for small accents, or to add a field to a decorative piece.
Single dip (2-3 coats brushed) Very stable, no running, no breaking. Not recommended for food use, may change color or texture. A matt surface.
Unicorn Horn is one of the most versatile and surprising glazes we have ever made. Varying from pearlescent white, to mottled ivory, to ancient yellow, this magical glaze is perfect for buff clays with lots of texture.
Fantasy Glazes can vary dramatically in appearance depending on the clay body used, the thickness of application, and in some cases, the firing. They can be runny, so it's important to test carefully.
A light but vibrant purple. Perfect for adding warmth to a piece. Potters looking for a more intense purple should look at Pansy Purple, as well.
Single dip (2-3 coats brushed) Very stable, no running, no breaking. A glossy surface.
A glossy, bright white, with a smooth surface. Won't run, works great on its own or as a base for other glazes.
Single dip (2-3 coats brushed) Very stable, no running, no breaking. A glossy surface.
The simplest and most popular of our crawl glazes, White Crawl is great for any decoration that needs a dramatic surface.Perfect for potters looking for something unusual, our Crawl glazes have a tree-bark surface that's rough and dry to the touch. To achieve the crawling effect, they must be applied very thick, until the dry surface of the glaze cracks before firing. They can also be used over underglazes.
The crawl glazes need several coats brushing. Apply glaze until it just starts to crack on the piece when dry, like a dried-up lakebed, but not so thick that it flakes off of the piece. Where the glaze is thicker, the crawl size is larger. Where thinner, the crawl size is smaller. Not recommended for food use. A textured, dry matt surface.
A yellow orange glossy glaze that doesn't run. Try firing it in a cone 6 soda kiln for a truly transformative look.
Single dip (2-3 coats brushed) Very stable, no running, no breaking. A glossy surface.
