Studio Glazes​

Our glazes are in a constant state of flux at the studio.  We regularly introduce new glazes to give our students fresh colors and textures to explore.  This is our current lineup:


Wanamaker is a matte, turquoise glaze with many faces.  On any clay it will show three different colors depending on thickness.  When thin it is a pale green, but as it thickens it moves to a charcoal green and then eventually pools bright turquoise when thick enough.  It is a challenging glaze that doesn't play particularly well with other glazes.  If you operate within the glaze's strengths though, you can achieve great results.  It is an excellent choice for showing off texture and adding a bit of spontaneity to a pot.  Be careful when glazing, drips will definitely show with this glaze.


Umoja brings the funk.  Just like Wanamaker, this glaze has many faces.  While it appears matte on its own, beware because it will make most glazes it mixes with go glossy and run wild!  This glaze is loaded with all the good stuff: copper, zinc, lithium, titanium and soda ash.  It's not particularly stable or food safe, but it produces brilliant colors and effects.  When mixed with a more neutral, gloss glaze, the copper, titanium and lithium really come through.  You can get streaks of white, blue and bright green.  Use this glaze carefully, our kiln shelves are quite familiar with it at this point.  

Along with being the Swahili word for "unity", Umoja is a fertile, green planet in the Koprulu sector of the Starcraft universe.

Soft White

Good studio glaze lineups have a balance of adventurous and stable glazes.  Soft white is an anchor glaze here.  By itself, it has a lovely, semi-matte (depending on the clay) finish that shows off clay speckles and bright underglazes.  It mixes well with practically every other glaze and is a great choice for beginners.  It is forgiving and safe.  Use it in combination with our brown clays and dark glazes to create contrast and interest.  It is completely food safe, and will hold up well over time.

Mara Sara

Of all the glazes I've come up with at the studio, I am most proud of Mar Sara.  It is a a kaki-red glaze adapted from a John Britt straw ash recipe.  It has a semi-matte finish and does spectacular things when mixed with other glazes.  Despite being full of colorants, the glaze is food safe and well balanced.  You can achieve bright, tomato reds on brown clay and crystalline deposits on porcelain.  Pay attention to glaze thickness when using Mar Sara as it can run quite a bit when combined with other drippy glazes.  

Although often confused in our studio with the south Asian spice genre "Masala", Mar Sara is a fiery, mining planet located in the outer colonies of the Starcraft universe.  

Gloss Black

Another anchor glaze at the studio.  Gloss black is a rich, saturated glaze that plays well with the rest of the lineup.  It is stable and predictable.  You can see some nice, silver crystals that show through on our speckled stoneware clay.  When mixed with another color-rich glaze you can get mottled, hare's fur patterns.  Although this glaze gets a full melt in the kiln, it is not runny and is an excellent choice for beginners.  


Our adaptation for a cone 6, electric shino.  Egg is a wonderfully balanced and stable glaze.  It brings the best out of our other glazes and is very versatile.  It pools a creamy white, and breaks an iron, orange.  Use this glaze to show off texture and add interest to a glaze that might otherwise be flat.  Egg has an organic, comforting look and gives pots a lasting presence.  This glaze is great for beginners, advanced potters and everyone in between.

If you see "egg" in a glaze name, it's usually because of the glaze's eggshell finish.  Our glaze however, looks like a fried egg.  Fried eggs are beautiful.  


We have the best cone 6 clear glaze in the biz.  I've tested and modified dozens of clear glaze recipes and this is the best.  It fits all four of our cone 6 clays, melts well, does not pinhole and does not turn cloudy when it pools.  It is forgiving when thin and thick.

Use clear to dilute other color saturated glazes or to show off underglazes and raw clay.  

Psionic Celedon

Psionic Celedon is meant to capture the cool, gray, blue-green hue that an iron celedon achieves in reduction.  It is a subtle glaze that will grow on you over time.  Psionic Celedon is stable and forgiving.  The surface is glossy and smooth while not moving much in the kiln.  Would you guess that four different oxides are involved in producing this simple green?

Protoss are masters of manipulating psionic powers which usually manifest on the battlefield in the form of blue and green energy.


For those interested in drippy, bright colors, Zerg is for you.  This glaze is not especially food safe or predictable, but it does produce brilliant colors when used correctly.  Zerg goes from pink/brown, to dark purple, to bright/white purple as it gets thicker.  Use Zerg to highlight sections of your pot.  If covering your whole pot in Zerg, make sure you have a beefy foot with plenty of clearance in anticipation of drips.  Zerg will surprise you with all colors of the rainbow when paired with the right glaze.  

Zerg are a menace to the universe.  Governed only by their Overmind, they will overrun anything in the name of The Swarm.  Although repulsive to look at, their skins and carapaces' share a similar color with our glaze.


In one sense, Nerazim is the product of a glaze that I spent over a year chasing.  I was after a copper blue.  About one hundred test tiles later, I decided that some of the shades I was getting in between green and blue were beautiful.  Nerazim stood out among the pack.

It is a strongly alkaline base glaze with no clay and a lot of glass.  A scoop of titanium, copper and lithium with some tin on top.  Enjoy.

The Nerazim are faction of Protoss that have separated themselves from the Khala(which most Protoss derive their energy from).  They use a verdant green as their tribal color.  Nerazim can often be identified by their glowing, green eyes.



I finally got up the nerve to retire Indigo Float at the studio.  Luckily, I've replaced it with a remarkably similar floating, blue glaze.  Glacius mixes incredibly well with the rest of the studio glazes.  The blue will come through in most pairings, but in slightly different shades.  It has some oil-spotting and hares-fur tendencies when mixed with the right counter part.

Cobalt and rutile tend to degas at the wrong time in the kiln which makes floating blues prone to pin-holing.  To combat this, Glacius is made from a base glaze of all the best melters.  Very frit heavy.

Glacius is an oceanic planet on which the Protoss established a robust research facility operated by the Khalai caste.  


After three full, 5-gallon buckets of studio scrap glaze accumulated I began testing to create a worthwhile mystery glaze.  So was Leviathan born.

The scrap glaze started as a bland pink.  I stabilized the surface and moved the color closer to a purple with the addition of cobalt and talc.  It is a fun glaze that breaks dramatically while moving between gloss and matte textures.  When paired with the right studio glaze, you can achieve bright purples.  

The Leviathan is a floating, apex abomination of the Zerg race.  The studio scrap glaze is a monster in my mind so it is a fitting name.  It's also not a bad approximation of what the fleshy carapace of the purple Leviathan may be like.    Combine with other studio glazes to get less of a monster skin look.