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Since Albuquerque/New Mexico
Coyote Clay and Color mix cone 5 to 6 glazes in Albuquerque, built to give an electric kiln the depth of a gas firing.
They work in small families rather than one big line, and they are unusually direct about which families to layer over which.
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Every Coyote glazes we stock, sorted by the level that covers it.
Jump straight to a family
Nothing by that name.
14 to choose from
1 of 14
Nineteen solid glossy colors that stay put. The steady end of the Coyote shelf, and the base their reactive lines are designed to sit on.
Cone 5 to cone 6, over cone 04 bisque
See all 19 Gloss glazes2 of 14
Eighteen translucent colors that do not run. Built for carved work and for going over underglaze where a solid color would bury the detail.
Cone 5 to cone 6, over cone 04 bisque
See all 18 Celadon glazes3 of 14
Seventeen glazes that change with the clay, the thickness and the firing. Coyote's newest line, and the one they ask you to test carefully.
Cone 5 to cone 6, over cone 04 bisque
See all 17 Fantasy glazes4 of 14
Sixteen glazes that break brown wherever they thin. Built to be put over texture and over other glazes, and unusually well behaved for how much they move.
Cone 5 to cone 6, over cone 04 bisque
See all 16 Shinos glazes5 of 14
Six undercoats, six overcoats, thirty six combinations. Oil spot at cone 5½ instead of cone 10.
Cone 5 to cone 6, over cone 04 bisque
See all 12 Texas Two-Step glazes6 of 14
Twelve soft, opaque colors that stay where you put them. The quiet end of the Coyote shelf, and the base most of their reactive glazes are meant to sit on.
Cone 5 to cone 6, over cone 04 bisque
See all 12 Satin glazes7 of 14
The difficult end of the Coyote shelf. These flow, react with what is underneath and change with the cooling. Coyote ask you to test for shivering first.
Cone 5 to cone 6, over cone 04 bisque
See all 11 Archie's glazes8 of 14
Copper blues, iron browns and an oxblood. The traditional shelf, and Coyote's most varied series, so each one behaves its own way.
Cone 5 to cone 6, over cone 04 bisque
See all 8 Copper & Iron glazes9 of 14
Eight glazes that change with the cooling. Coyote built them to work in both a normal firing and a slow cool, and say they are never the same twice.
Cone 5 to cone 6, over cone 04 bisque
See all 8 Constellation glazes10 of 14
Six saturated opaque colors that do exactly what the jar shows. No reacting, no surprises.
Cone 5 to cone 6, over cone 04 bisque
See all 6 Vibro-Color glazes11 of 14
Six glazes that grow crystals as the kiln cools. Easier to live with than traditional crystal glazes, and not for foodware.
Cone 5 to cone 6, over cone 04 bisque
See all 6 Crystalline glazes12 of 14
Five glazes that break themselves up into variegated color, with one condition: they have to go on thick. Two of them contain cadmium.
Cone 5 to cone 6, over cone 04 bisque
See all 5 Mottled glazes13 of 14
Three glazes built for durability rather than drama. Liner glazes for the inside of functional ware, where a glaze takes the most abuse.
Cone 5 to cone 6, over cone 04 bisque
See all 3 Enduro-Color glazes14 of 14
One glaze that pulls itself apart in the kiln on purpose. A texture rather than a coating, and not for anything you eat from.
Cone 5 to cone 6, over cone 04 bisque
See all 1 Crawl glazesCoyote Clay and Color works out of Albuquerque, New Mexico, and makes glazes for one purpose: getting the look of a gas reduction firing out of an ordinary electric kiln.
That is the same problem Amaco set out to solve with Potter's Choice, and Coyote went at it differently. Where Amaco built one big layering line, Coyote built a lot of small families that each do one thing, and told people which ones to put together. Their Gloss glazes exist partly as a base for the Shinos on top.
The Shino line has been running since 2002, when the original Shino went on sale. They now mix cone 5 to 6 glazes in pints, gallons and dry, and have their toxicology reviewed independently. None of their recipes use lead.
They also run a teaching studio in Albuquerque with classes and rental space, which is not a common thing for a glaze maker to do.
We have done our best to represent every glaze here accurately, and you should still expect your pot to look different from what is on this screen.
Our glaze tile images are digitally created. They are built to show the character of a glaze, not to be a color match.
A screen is not a printout, a printout is not a test tile, and a test tile is not a finished pot. Each step in that chain shifts what a glaze looks like, sometimes a lot.
On top of that, the pottery itself changes the result: the clay body, how thick the glaze went on, whether it was brushed, dipped or sprayed, what was layered under or over it, where the piece sat in the kiln, how hot that spot ran, how fast it cooled, what was fired next to it, and how much texture the surface had. Two pots glazed from the same jar on the same day can come out different.
Treat every image here as a starting point, and treat a test tile fired on your own clay as the real answer.
