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Mayco’s Stoneware glaze assortment, including Classic, Matte, Crystal, and Gloss, offers a variety of finishes, textures and endless possibilities for glaze combinations. Available in both liquid and dry.
Cone 6: Night Moth is an opaque gloss glaze with crystals that bloom into sage and gray.
Cone 10: No change. TIP: SW-508 Black Gloss is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-508 Black Gloss with a third coat of SW-181 Night Moth.
Cone 6: Desert Dusk is a warm amber matte glaze with crystals that melt into a glossy purple and blue. Heavier crystal application will produce more color variation.
Cone 10: Glossy purple/blue is more prominent. Increased movement. TIP: SW-173 Amber Quartz is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-173 Amber Quartz with a third coat of SW-180 Desert Dusk.
Cone 6: Sandstone is a matte, off-white glaze that contains a variety of brown crystals that melt during the firing. Thicker application and heavy crystal concentration will produce more glossy blue/purple variation.
Cone 10: Color darkens. Glossy blue/purples become more prominent. TIP: SW-172 Macadamia is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-172 Macadamia with a third coat of SW-176 Sandstone.
Cone 6: Enchanted Forest is a dark charcoal gloss glaze that contains small yellow and medium-sized green crystals. As the crystals melt, a variety of yellow and green blooms appear.
Cone 10: Base glaze turns dark blue, yellow crystals turn white and green crystals turn blue. TIP: SW-209 Charcoal is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-209 Charcoal with a third coat of SW-171 Enchanted Forest.
Cone 6: Blue Hydrangea is a blue floral inspired glaze that contains yellow and white crystals. As the crystals melt, large white blooms and smaller yellow blooms appear in the glaze.
Cone 10: Color changes to blue. Crystals fade slightly. TIP: SW-207 Chambray is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-207 Chambray with a third coat of SW-170 Blue Hydrangea.
Cone 6: Galaxy is a semi-transparent charcoal colored gloss glaze that contains a three-tone white, orange, and blue crystal. As the crystal melts, a brilliant bloom of white, orange, and blue appears. The glaze is reminiscent of a star being born. Cone 10: Crystals and base showcase more blue hues. Crystals melt. TIP: SW-209 Charcoal is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-209 Charcoal with a third coat of SW-156 Galaxy.
Cone 6: Winter Wood is a matte white glaze that contains a variety of brown crystals that melt.
Cone 10: Color changes to a translucent golden brown. TIP: SW-106 Alabaster is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-106 Alabaster with a third coat of SW-155 Winter Wood.
Cone 6: Shipwreck is an aquamarine gloss glaze that contains an iron crystal. As the crystal melts, a small iron speck appears. The glaze appears mysterious like underwater footage.
Cone 10: Color darkens. TIP: SW-212 Peacock is the base glaze.For a lighter crystal effect, you may try applying two coats of SW-212 Peacock with a third coat of SW-54 Shipwreck.
Cone 6: Indigo Rain is a matte white glaze that contains a two-toned purple and violet crystal. As the crystal melts, a purple crystal with violet specks appears. The glaze has a soft subtle beauty.
Cone 10: Color darkens to variegated light gray/purple. Crystals melt. TIP: SW-106 Alabaster is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-106 Alabaster with a third coat of SW-153 Indigo Rain.
Cone 6: Blue Splatterware is a white, semi-matte glaze that contains a blue crystal. As the crystal melts it creates small blue blooms that cause the glaze to resemble the look of 19th century enamelware.
Cone 10: Crystals become less defined. TIP: SW-141 White Matte is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-141 White Matte with a third coat of SW-152 Blue Splatterware.
Cone 6: Olive Float is a dark green gloss glaze that contains a light green crystal. It is a dazzling glaze that mimics crystalline glazes without the fuss of complicated kiln programing!
Cone 10: Color changes to red. Crystals remain. TIP: SW-210 Emerald is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-210 Emerald with a third coat of SW-151 Olive Float.
Cone 6: Celadon Bloom is a turquoise semi-transparent gloss glaze that contains a white crystal.
Cone 10: Color lightens. Crystals remain. TIP: SW-201 Turquoise is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-201 Turquoise with a third coat of SW-150 Celadon Bloom.
Cone 6: Lime Shower is formulated to produce a vibrant chartreuse gloss glaze with dark green and white crystals. Light coats will produce a semi-transparent finish in the base glaze with fewer crystals. Use three or more coats to produce an opaque green float with more saturation of crystals. At cone 5, this glaze will produce a matte sepia finish with little breaking over texture. Cone 10: Color becomes less vibrant. Crystals melt. TIP: SW-253 Green Opal is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-253 Green Opal with a third coat of SW-148 Lime Shower.
Cone 6: Moonscape is formulated to produce a medium gray to white variegation mottled with black crystals. Light coats will produce a matte gray finish with little white variegation and few crystals. Use three or more coats to produce more white variegation and crystals. At cone 5, this glaze will produce a matte sepia finish with little breaking over texture.
Cone 10: Off-white variation darkens. Gray variation turns blue. Crystals melt. TIP: SW-137 Storm Gray is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-137 Storm Gray with a third coat of SW-147 Moonscape.
Cone 6: Aurora Green produces a mottled aqua gloss glaze with light brown and large black crystals. As the crystals melt, bursts of blue and brown will develop. Cone 10: Color changes to a variegated pink/blue/green. Crystals become less pronounced. TIP: SW-108 Green Tea is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-108 Green Tea with a third coat of SW-146 Aurora Green. Due to the large sized crystals in Aurora Green they often reside in the bottom of the glaze; be sure to stir well or pour the glaze out onto a plate to make them more accessible.
Cone 6: Sea Salt is a white matte glaze that contains a sandy-brown crystal. As the crystal melts, brownish-tan small blooms appear in the glaze, producing a foamy, textured fired finish.
Cone 10: Base glaze turns pale lavender/gray. Crystals are mint green. TIP: SW-106 Alabaster is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-106 Alabaster with a third coat of SW-118 Sea Salt.
Cone 6: Honeycomb is a variegated brown matte glaze that contains a sandy-brown crystal. As the crystal melts it creates glossy blooms that can produce yellow mottling in the glaze, producing a textured fired finish.
Cone 10: Color darkens.
Cone 6: Robin’s Egg is a greenish-blue matte glaze that contains a sand-colored crystal. As the crystal melts, a small sandy-brown bloom will appear in the glaze, producing a mottled, textured finish.
Cone 10: Semi-gloss finish with variegated blue/light blue and crystals. TIP: SW-105 Frost Blue is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-105 Frost Blue with a third coat of SW-116 Robin's Egg.
Cone 6: Midnight Rain is a blue-green breaking gloss glaze that contains a black crystal. As the crystal melts and moves, a black oil-like streak is created in the glaze.
Cone 10: Crystals melt and integrate into base glaze, darkening the color. Increased movement. TIP: SW-100 Blue Surf is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-100 Blue Surf with a third coat of SW-115 Midnight Rain.
Cone 6: Muddy Waters is a matte brown glaze with crystals that melt into a glossy blue. Heavier crystal application will produce more color variation.
Cone 10: Glossy blue becomes more prominent. Increased movement. TIP: SW-174 Leather is the base glaze. For a lighter crystal effect, you may try applying two coats of SW-174 Leather with a third coat of SW-179 Muddy Waters.
Cone 6 oxidation: Micro Ash is a glossy, translucent, variegated charcoal glaze with a periwinkle float that breaks over texture. Blooms of shimmering onyx micro-crystallization will develop during the firing process.
Cone 10 reduction: Glaze darkens. TIP: This glaze is fluid at 3 coats. Recede application to avoid unwanted runoff. Due to the translucent nature of this product, be aware of your application consistency and thickness to avoid streaky brushstrokes. We recommend firing our micro glazes to cone 6 oxidation to reach crystalline development. Micro Ash achieves a stable, semi-opaque, warm charcoal result that breaks over texture and has a pearlescent satin finish when fired to cone 5. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation: Micro Cerulean is a glossy, translucent, medium blue glaze with an aqua float that breaks over texture. Blooms of shimmering blue micro-crystallization will develop during the firing process.
Cone 10 reduction: Glaze turns to a variegated grey/blue. TIP: This glaze is stable at 3 coats. Additional coats or increased application thickness may result in movement. Due to the translucent nature of this product, be aware of your application consistency and thickness to avoid streaky brushstrokes. We recommend firing our micro glazes to cone 6 oxidation to reach crystalline development. Micro Cerulean achieves a stable, semi-opaque, deep blue result that breaks over texture and has a pearlescent satin finish when fired to cone 5. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation: Micro Jade is a glossy, translucent, jade green glaze with a turquoise float that breaks over texture. Blooms of shimmering bronze micro-crystallization will develop during the firing process.
Cone 10 reduction: Glaze turns to a variegated brown. TIP: This glaze is fluid at 3 coats. Recede application to avoid unwanted runoff. Due to the translucent nature of this product, be aware of your application consistency and thickness to avoid streaky brushstrokes. We recommend firing our micro glazes to cone 6 oxidation to reach crystalline development. Micro Jade achieves a stable, semi-opaque olive result that breaks over texture and has a pearlescent satin finish when fired to cone 5. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation: Micro Champagne is a glossy, translucent amber glaze with a mauve float that breaks over texture. Blooms of shimmering gold micro-crystallization will develop during the firing process.
Cone 10 reduction: Glaze darkens. TIP: This glaze is fluid at 3 coats. Recede application to avoid unwanted runoff. Due to the translucent nature of this product, be aware of your application consistency and thickness to avoid streaky brushstrokes. We recommend firing our micro glazes to cone 6 oxidation to reach crystalline development. Micro Champagne achieves a stable, semi-opaque, golden-amber result that breaks over texture and has a pearlescent satin finish when fired to cone 5. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation: Micro Pearl is a glossy, semi-opaque white glaze with lilac undertones that breaks over texture. Iridescent micro-crystallization in shades of lilac and pale yellow will develop during the firing process.
Cone 10 reduction:Glaze darkens to blue, purple and white variegation. TIP: This glaze is stable at 3 coats. Additional coats or increased application thickness may result in movement. We recommend firing our micro glazes to cone 6 oxidation to reach crystalline development. Micro-Pearl achieves a stable, semi-opaque, frosted white result with a pearlescent satin finish when fired to cone 5. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation (larger image): Opal Lustre is a glossy, semi-opaque glaze that displays variegated shades of blues, greens, and purples. Breaks warm brown over texture. Cone 10 reduction (smaller image): Color flattens, and warm undertones come through. TIP: This glaze is semi-fluid at 3 coats. Additional coats or increased application thickness may result in movement. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6: Purple Aster is a glossy, semi-opaque lavender glaze that breaks over texture and develops a pale violet frost; deep blue crystals melt into cascading blossoms of indigo.
Cone 10: Color darkens slightly. No change to crystals. TIP: This glaze is fluid; Apply receding coats to avoid runoff on vertical pieces and practice caution in combination. Prone to pinholes when fired on manganese clay bodies.
Cone 6 oxidation (larger image): Black Engobe fires matte black. Engobes are used to coat your clay body to your preferred finish/color and are a great base to achieve in your glaze results. Cone 10 reduction (smaller image): No change. Tips: Can be applied to wet clay, greenware or soft fired, cone 04 bisque. Engobes are often used for a variety of decorative techniques, such as sgraffito and majolica. Fires matte. Apply clear glaze to intensify color or for use on dinnerware. Engobes will impact glaze results when used as a base. Engobes are used to change the color of your clay color surface without cross contamination and easy clean up in your studio. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation (larger image): Dark Brown Engobe fires matte brown. Engobes are used to coat your clay body to your preferred finish/color and are a great base to achieve in your glaze results. Cone 10 reduction (smaller image): No change. Tips: Can be applied to wet clay, greenware or soft fired, cone 04 bisque. Engobes are often used for a variety of decorative techniques, such as sgraffito and majolica. Fires matte. Apply clear glaze to intensify color or for use on dinnerware. Engobes will impact glaze results when used as a base. Engobes are used to change the color of your clay color surface without cross contamination and easy clean up in your studio. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation (larger image): Brick Red Engobe fires matte red/brown. Engobes are used to coat your clay body to your preferred finish/color and are a great base to achieve v in your glaze results. Cone 10 reduction (smaller image): No change. Tips: Can be applied to wet clay, greenware or soft fired, cone 04 bisque. Engobes are often used for a variety of decorative techniques, such as sgraffito and majolica. Fires matte. Apply clear glaze to intensify color or for use on dinnerware. Engobes will impact glaze results when used as a base. Engobes are used to change the color of your clay color surface without cross contamination and easy clean up in your studio. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation (larger image): Speckled Buff Engobe fires matte ivory with brown speckles. Engobes are used to coat your clay body to your preferred finish/color and are a great base to achieve v in your glaze results. Cone 10 reduction (smaller image): No change. Tips: Can be applied to wet clay, greenware or soft fired, cone 04 bisque. Engobes are often used for a variety of decorative techniques, such as sgraffito and majolica. Fires matte. Apply clear glaze to intensify color or for use on dinnerware. Engobes will impact glaze results when used as a base. Engobes are used to change the color of your clay color surface without cross contamination and easy clean up in your studio. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6 oxidation (larger image): White Engobe fires matte white. Engobes are used to coat your clay body to your preferred finish/color and are a great base to achieve variability in your glaze results. Cone 10 reduction (smaller image): No change. Tips: Can be applied to wet clay, greenware or soft fired, cone 04 bisque. Engobes are often used for a variety of decorative techniques, such as sgraffito and majolica. Fires matte. Apply clear glaze to intensify color or for use on dinnerware. Engobes will impact glaze results when used as a base. Engobes are used to change the color of your clay color surface without cross contamination and easy clean up in your studio. Can be used in oxidation or reduction firings. Results may vary. The choice of clay body, thickness of application, firing process, and temperature will greatly affect the fired results. Always test your application on your clay body in your kiln environment.
Cone 6: Brown Gloss is a glossy, opaque, rich brown glaze that is highly pigmented and formulated for stable design work at midrange temperatures and above.
Cone 10: Color shifts to olive-brown. The glaze remains stable.
TIP: This glaze is stable, even with heavy application. Can be mixed with other Stoneware Gloss glazes (SW-500 series) to produce additional stable and opaque colors. Layer design work with other Stoneware Gloss series colors to create crisp images that won’t blur or require a clear glaze.
Cone 6 oxidation: Coral Gloss is a glossy, opaque, vibrant coral glaze that is highly pigmented and formulated for stable design work at midrange temperatures and above.
Cone 10: No change. Glaze remains stable.
TIP: This glaze is stable, even with heavy application. Can be mixed with other Stoneware Gloss glazes (SW-500 series) to produce additional stable and opaque colors. Layer design work with other Stoneware Gloss series colors to create crisp images that won’t blur or require a clear glaze.
Cone 6: Pink Gloss is a glossy, opaque, medium pink glaze that is highly pigmented and formulated for stable design work at midrange temperatures and above.
Cone 10: Glaze breaks over texture. Glaze remains stable.
TIP: This glaze is stable, even with heavy application. Can be mixed with other Stoneware Gloss glazes (SW-500 series) to produce additional stable and opaque colors. Layer design work with other Stoneware Gloss series colors to create crisp images that won’t blur or require a clear glaze.
Cone 6 oxidation (large photo): Rose quartz is a glossy, opaque, variegated pink glaze that breaks over texture. Pastel pink micro-crystallization may develop on vertical surfaces. Cone 10 reduction (small photo): Glaze darkens and desaturates to a dusty rose with red and mauve variegation and white micro-crystallization. Breaks mauve grey over texture. TIP: This glaze is fluid; Apply receding coats to avoid run off on vertical pieces and practice caution in combination. Over-application of Rose Quartz can cause surface issues. Thin application results in vibrant pink; light pink variegation develops with additional application. The micro-crystallization effect is enhanced in a rapidly cooling kiln.
Cone 6 oxidation (large photo): Geologically inspired with mottled earth tones, Fossil Rock is an opaque, tan, matte glaze that breaks over texture. Cone 10 reduction (small photo): Glaze shifts ivory with soft gray and warm brown marbling. Breaks slate gray over texture. Glaze remains stable. TIP: This glaze is generally stable at 3 coats. Additional coats or increased application thickness may result in glaze movement. We recommend firing our matte glazes to cone 6 to produce a satin matte finish.
Cone 6 oxidation: Sand Dollar is a satin, opaque, cream-colored glaze with white and gold mottling. Breaks glossy transparent over texture.
Cone 10 reduction: Glaze shifts to a glossy, variegated lavender purple with white micro-crystallization. Breaks blue/grey over texture. Enhanced mobility.
TIP: This glaze is fluid at 3 coats. Anticipate glaze movement with receded application on vertical surfaces to prevent unwanted running.
Cone 6 oxidation (larger image):: Riptide is a satin-matte, opaque, variegated turquoise/green glaze that breaks over texture and develops a glossy finish where thick or pooling.
Cone 10 reducation (smaller image): Glaze shifts grey with white/turquoise variegation. Glaze remains stable.
TIP: This glaze is generally stable. Additional coats or increased application thickness may result in movement. Thin application results in finely variegated color. Variegation is
exaggerated with application thickness. We recommend firing our matte glazes to cone 6 to produce a satin matte finish.
Cone 6 oxidation (large photo): Nimbus is a glossy, opaque, variegated blue glaze that breaks over texture and has an iridescent sheen. Blue micro-crystalization may develop. Cone 10 reduction (small photo): Glaze brightens to a variegated cyan that breaks green/brown over texture. TIP: This glaze is fluid; Apply receding coats to avoid runoff on vertical pieces and practice caution in combination. Prone to pinholes when fired on manganese clay bodies.
Cone 6 oxidation (large photo): Ivy is a glossy, opaque, variegated green glaze with that breaks over texture and has an iridescent sheen. Green micro-crystallization may develop. Cone 10 reduction (small photo): Glaze shifts to a variegated jade that breaks purple over texture. Micro-crystallization enhances. TIP: This glaze is fluid; Apply receding coats to avoid runoff on vertical pieces and practice caution in combination. Prone to pinholes when fired on manganese clay bodies.
Cone 6 oxidation:Amaryllis is a glossy, transparent, coral glaze with crystals in varying sizes that bloom into shades of brown, yellow, and orange.
Cone 10 reduction: Glaze fades to a transparent pink. Crystals soften. Glaze remains stable.
TIP: -SW-205 Coral is the base glaze. For a lighter crystal affect, apply 1 coat of SW-192 Amaryllis over 2 coats of SW-205 Coral. This glaze is stable, even with heavy application.
Cone 6 oxidation:Peppered Plum is a glossy, opaque, burgundy glaze that breaks over texture and develops a warm taupe float; small opaque black crystals are featured with large semi-transparent burgundy crystals.
Cone 10 reduction: Glaze darkens, and crystals soften. Large crystal shifts to opaque red. Light application recommended.
TIP: SW-113 Speckled Plum is the base glaze. For a lighter crystal effect, apply 1 coat of SW-191 Peppered Plum over 2 coats of SW-113 Speckled Plum. This glaze is stable, even with heavy application. Light application will result in a more homogenous burgundy. Warm taupe float develops and intensifies with glaze thickness.
Cone 6 oxidation:Passionflower Purple is a glossy, opaque, deep purple glaze with opaque crystals in varying sizes that bloom into shades of blue, green, and yellow.
Cone 10 reduction: Glaze shifts to a semi-opaque variegated blue that breaks over texture. Crystals soften and lighten. Glaze remains stable.
TIP: SW-134 Eggplant is the base glaze. For a lighter crystal effect, apply 1 coat of SW-190 Passionflower Purple over 2 coats of SW-134 Eggplant. This glaze is stable, even with heavy application.
Cone 6: Rainforest is a soft matte, emerald green glaze that will pool dark and glossy and break a light brown. Cone 10: Color changes to light brown with green variation where thick/pooling. Increased movement. Tip: This glaze can be very mobile; Recede coats to avoid run off on vertical pieces and practice caution in combination. Note: Not recommended for dinnerware due to surface durability.
Cone 6: Himalayan Salt is a soft matte glaze with light pink and burnt orange mottling that will pool a glossy clear. Cone 10: Color changes to an opaque, variegated gray/white that breaks gray over texture and can pool a glossy purple/blue when thick. Tip: This glaze can be very mobile; Recede coats to avoid run off on vertical pieces and practice caution in combination. Note: Not recommended for dinnerware due to surface durability.
Cone 6: Azurite is a soft matte, cobalt blue glaze that will pool dark and glossy and break a light brown. Cone 10: Color changes to green where thin/breaking and remains dark blue where thick/pooling. Increased movement. Tip: This glaze can be very mobile; Recede coats to avoid run off on vertical pieces and practice caution in combination. Note: Not recommended for dinnerware due to surface durability.
Cone 6: Landslide is a soft matte, rich brown glaze that will pool dark and glossy and break over texture. Cone 10: Color variation increases, producing darker red/brown hues where thin/breaking and brighter orange and gold where thick/pooling. Tip: This glaze can be very mobile; Recede coats to avoid run off on vertical pieces and practice caution in combination. Note: Not recommended for dinnerware due to surface durability.
Series Information: Mayco Stoneware Information & Brochure
Mayco’s Stoneware glaze assortment, including Classic, Matte, Crystal, and Gloss, offers a variety of finishes, textures and endless possibilities for glaze combinations. Available in both liquid and dry.
CLASSIC, MATTE, CRYSTAL, AND GLOSS
One of the most distinctive traits of Mayco’s Stoneware is that the glazes provide consistent performance and intriguing visual interest. They are best known for being receptive and favorable to the user during both application and firing. Mayco Stoneware glazes are friendly to the user in application, layering and firing. Many glazes will break over textures, revealing secondary colors and shades. The choice of clay body, thickness of glaze application, firing process and temperature will affect the fired results.
Click below to download a full color brochure of Mayco Stoneware
Shake well. Apply 2-3 coats to wet clay, greenware, or cone 04 bisque for use in design or solid coverage.
Fundamentals® have a firing range from cone 06 to cone 10. If the form you are painting has texture, dab excess
color out of the texture, and never allow the glaze to pool in the texture. To intensify color or for use on
dinnerware, apply a clear or matte clear glaze. For use on clay or greenware, apply underglaze, allow to dry,
and fire to cone 04. If desired, apply clear glaze and re-fire to cones 06-05 for earthenware and cone 5-10 for
stoneware (998°C–1285°C). For use on bisque, apply to cone 04 bisque, apply clear glaze if desired and re-fire
earthenware to cone 06/05 and cone 5-10 for stoneware. Generally, a clear glaze finish is applied to bring out
the true color and vividness of the product. We recommend S-2101 Clear for low-fire and SW-001 Stoneware Clear
Glaze unless noted SW-004 Zinc-Free Clear for mid-range.
One coat of Mayco Stroke & Coat® will create a translucent finish with subsequent coats adding
opacity. We suggest 2-3 coats for full opacity and all over coverage. Let dry between coats. Stroke & Coat®
glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze (such as NT-CLR Clear
One Dipping Glaze or S-2101 Crystal Clear Brushing) can be added. For application on wet or leatherhard clay and
firing to cone 04, colors will retain their vibrancy with huge time savings. We recommend leaving an area
unglazed, such as the back or bottom of the unfired piece, to allow for out-gassing of the clay during the
single-firing process. Limit glazes to 2 coats including design work.
Crystal glazes were designed to mature at cone 06/05. Shake the jar well and stir during the application process.
Apply two to three even coats to shelf cone 04 bisque with a fan brush, allow to dry between coats. We recommend
a soft fan brush, such as CB-604 #4 or CB-618 #8 Soft Fan, for glaze application. Stir frequently as crystals
tend to settle in the jar due to their weight. Re-distribution of crystals may be required during the final
coat. Where you see the crystal is where you will see it bloom. Avoid heavy application of crystals at the
bottom of ware as the crystals bloom and can adhere to the kiln shelves or stilts. The crystals in the glaze
will melt when fired, which may create a textured surface. Jungle Gems™ Crystal Glazes have a natural
crazing that occurs when the crystals “bloom”. As that surface may be difficult to properly clean if
in contact with food, we recommend crystal glazes to be used on decorative ware.
Jungle Gems™ Crystal Glazes have been formulated to mature at cone 06/05. However can be fired at higher
temperatures. Their performance at cone 6 is noted on each individual product label. Crystals tend to flow at
higher temperatures so take care on vertical pieces. We recommend testing on your clay body and in your kiln
prior to use.
Shake for 5-6 seconds before use. Dispense glaze onto a palette (tile, plate, etc.) and apply with your brush or
decorating accessory of choice (sponge, stamp, etc.). Foundations® glazes were designed to mature at a shelf
cone 06/05. Apply 2-3 coats, on cone 04 bisque, allowing surface to dry in-between coats. Foundations® dries
quickly and speeds up your ability to handle or perform additional decorating. Glaze fires to high-gloss
finishes (excludes mattes), therefore does not need to be clear glazed. When applying to a large surface, we
recommend a broad, soft brush such as CB-604 #4 Soft Fan. Try to get the brush fully saturated (loaded) and
apply each coat in the same direction to minimize brush marks.
Foundations® have been formulated to mature at cone 06/05. However most will maintain their color at higher
temperatures. Their performance at cone 6 is noted on each individual product label. We recommend testing on
your clay body and in your kiln prior to use.
Shake for five to six seconds before use. Dispense glaze onto a palette (tile, plate, etc.) and apply
with a soft brush or decorating accessory of choice (sponge, stamp, etc.). Dipping your brush directly into the
jar may contaminate the jar’s contents, especially if you are using other glazes. Apply three to four coats to
your piece. Elements™ glazes were designed to mature at a shelf cone 06 (999° C or 1830º F). When applying them
over a large surface area, we recommend a broad, soft fan brush.
Moisten the brush with water first. The brush fully saturated (loaded) and each coat applied in the same
direction. When the wet look has gone from the first coat, you may apply the next coat of glaze. Be sure the
glaze has dried thoroughly prior to firing. A medium ramp/firing rate is recommended (250°F per hour) at shelf
cone 06. Elements™ can be fired at higher temperatures but will change in appearance. We recommend testing prior
to use.
Stoneware Classic & Matte Glazes: Stir well.
Apply to soft-fired bisque (cone 04/06). Apply one, two or three coats depending on the result desired. Allow
each coat to dry before applying the next coat. Fire from cone 5/6-10. See label for additional firing
information for individual glazes and cone 10 performance.
Stoneware Crystal
Glazes: Crystal glazes are designed to expand upon the surface with dazzling bursts of color.
Crystals will settle to the bottom of the jar and will need thorough mixing prior to initial use and in
between each coat. Apply two to three coats using a fan or hake brush. While the glaze is wet, use your
brush to redistribute crystals to achieve balanced coverage. Over application of the crystals can cause
pinholing or running. Avoid placing crystals near the bottom third of a vertical piece as they may cause
additional movement during firing. See label for additional firing information for individual glazes and
cone 10 performance.
Stoneware Gloss Glazes: Stoneware Gloss
glazes can be used in design, all over coverage and are the ideal product for intermixability at
mid-range temperatures. The integrity of your design will remain unchanged as these glazes are
incredibly stable and will not move or combine with surrounding colors. See label for additional firing
information for individual glazes and cone 10 performance.
Dry mix products: Always wear a
NIOSH-approved respirator when handling dry glazes. Gently tumble
unopened bag to redistribute material, Sieving is not necessary. Mix one 10Ib bag of Dry material into
at least 10 pints of water. Stir thoroughly. Add additional water until desired Specific Gravity is
reached. Specific Gravity preference will vary between studios, persons, and practice. Our recommended
Specific Gravity is in the range of 1.47-1.51. This is for a 1 second dip time; you may want to mix to a
lower Specific Gravity if you layer your glazes or tend to dip longer. Stir well before each use. We
suggest using dipping tongs. Immerse the ware for 1-2 seconds. One dip of Mayco Dry is equivalent to 3
coats. Shake excess glaze off gently. Allow the glaze to dry before applying additional coats, if
desired. When applying Stoneware Dry Crystal glazes, use a cup or ladle to pour the glaze over your
piece. While the glaze is wet, you may use a fan brush to evenly distnbute the crystals; avoid heavy
crystal loading on the bottom 1/3 of your piece. Fire to preferred temperature, cones 5-10
(2167°F-2345°F / 1186°C-1285°C). Testing recommended. The choice of clay body, the thickness of glaze
application, the firing process, and temperature will affect the fired results.
Tip: Save your bag or log the lot number for if you have any questions for our
technical team. Tip: Apply AC-302 Wax Resist to the bottom for easy dry foot clean-up.
Safety Information Mayco Dinnerware Safety Information
FOOD SAFE VS. DINNERWARE SAFE VS. NOT SUITABLE FOR DINNERWARE DUE TO SURFACE CHARACTERISTICS
The Food and Drug Administration (FDA) issues a series of Compliance Policy Guides (CPG) that explain policy on regulatory issues related to the FDA laws or regulations, primarily “Food Safe”. Specific to ceramic products and supplies:
CPG Sec. 545.400 Pottery (Ceramics); Import and Domestic – Cadmium Contamination: delineates the acceptable test methods and levels of cadmium leach that is permissible
CPG Sec. 545.450 Pottery (Ceramics); Import and Domestic – Lead Contamination: delineates the acceptable test methods and levels of lead leach that is permissible
Please note: it is NOT illegal for a foodware item to contain traces of lead or cadmium as long as these substances test below the thresholds established in these guidelines.
“Food safe” seems to be one of the most confusing concepts for ceramic studios. It can be used differently among manufacturers, which lends to the confusion. There are some dissimilarities in how we ceramic manufacturers use definitions of food safe, dinnerware safe and other safety related information. Following is Mayco’s approach:
VIDEO
ICONS
AP SEAL
The AP (Approved Product) Seal identifies art materials are certified in a toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans, including children, or to cause acute or chronic health problems as a wet glaze. Such products are certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236, and the U. S. Labeling of Hazardous Art Materials Act (LHAMA).
CL SEAL
The CL (Cautionary Labeling) Seal identifies products that are certified to be properly labeled in a program of toxicological evaluation by a medical expert for any known health risks and with information on the safe and proper use of these materials as a wet glaze. CL products are NOT suitable for children 12 and under.
NON-TOXIC
Products bearing the Certified Non-Toxic seal have been reviewed by a toxicologist & deemed to have no health risk associated with the proper use of the product.
FOOD SAFE
Products bearing the Food Safe icon have been regulation and defined by the Compliance Policy Guide, maintained by the FDA. We have conducted testing on the individual glaze (or similar in formulation), which has passed standards for food safety when used according manufacturer’s direction.
DINNERWARE SAFE
Glazes identified with the Dinnerware Safe icon indicate the fired surface meets the FDA guidelines for food safe and is suitable for use on dinnerware.
NOT DINNERWARE SAFE
Glazes identified with this version of the Dinnerware Safe icon indicate the fired surface is NOT safe for use on dinnerware.
DINNERWARE SAFE WITH CLEAR GLAZE
Glazes identified with this version of the Dinnerware Safe icon indicate the fired surface is safe for use on dinnerware after a clear glaze or other dinnerware safe glaze is applied and fired.
