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Mid-Fire
Mottled, reduction-like surfaces out of one jar. Our Black Level shelf.
38glazes
35Black
Cone 5 to cone 6, over cone 04 bisque
See all 38 Mid-Fire glazesSpeedball
/Statesville, North Carolina
Speedball make the underglazes most studios draw with, and a mid-fire glaze line that behaves nothing like them.
We carry both, and they sit at opposite ends of the shelf in every sense: one is Purple Level and made for line work, the other is Black Level and made for surfaces.
86glazes and underglazes on our shelves
2families
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Speedball by membership level
Every Speedball glazes and underglazes we stock, sorted by the level that covers it.
48Purple Level
35Black Level
22good on texture
The 2 Speedball families we carry
Jump straight to a family
Nothing by that name.
2 to choose from
2 of 2
Underglaze
All forty eight Speedball colors. The line you draw with, and it holds an edge in the firing.
48underglazes
48Purple
Cone 05 to cone 6, over cone 04 bisque
See all 48 Underglaze underglazesAbout Speedball
Speedball are better known outside ceramics, for printmaking and lettering supplies, which shows in what their underglazes are built to do. Speedball themselves list sgraffito, screen printing, mishima and detailed painting as the point of the line.
In late 2023 they reformulated the whole underglaze range for brushability, and their mid-fire glaze line was developed in partnership with the ceramic artist Nancy Sowder.
Fast facts
MakesUnderglazes and mid-fire glazes
Underglaze range48 colors, and we carry all 48
Mid-fire range36 colors developed with Nancy Sowder, plus fluxes
What we carry48 underglazes and 38 mid-fire
About these images and what your pot will actually look like
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.