Jet Black
Amaco Velvet Underglaze
The one most people reach for first, because line work is what underglaze is for and black is what a line wants to be.
Every underglaze on the shelf, from Amaco and Speedball. This is the stuff you draw with.
An underglaze is not a glaze. It is closer to a very fine slip with a lot of colorant in it, and the single most useful thing about it is that it does not move in the firing. Put a line down and the line stays exactly where you put it.
That one property is what makes everything else possible. Sgraffito, mishima, screen printing, fine brushwork, hard edges between two colors, lettering that stays legible. None of that survives in a glaze that flows.
Here is the rule that matters most, and it is ours rather than the makers'. Underglaze goes on raw clay in this studio, never on bisque, and every underglazed piece is bisque fired before any glaze touches it. Both Amaco and Speedball allow either. We do not, and that is worth knowing before you plan a piece around it.
Bare underglaze fires matte and chalky. For anything functional it needs a clear glaze over the top, which is also what makes the color come alive.
105 is a lot to look at. If you want three, these are the three.
Amaco Velvet Underglaze
The one most people reach for first, because line work is what underglaze is for and black is what a line wants to be.
Amaco Velvet Underglaze
Less obvious and more useful. Put it down first and any color over it stays bright, even on a dark clay body.
Speedball Underglaze
Reds are difficult at this cone in a glaze and easy in an underglaze, which is one of the better arguments for painting rather than dipping.
Amaco and Speedball sit side by side in every group, so you can compare two makers' greens without scrolling between two lists.

Underglaze rewards a good brush more than almost any other material in the studio. A soft wide brush for laying flat color, a fine liner with a long belly that holds enough load to finish a stroke, and a small round for filling. Cheap stiff brushes leave streaks that fire in permanently.
Three liberal coats is the standard for solid color, and the trick is to let each one lose its shine before the next. Brushing into a wet coat lifts what you already put down.

Sgraffito: coat the leather-hard pot, then scratch back through to the clay. Mishima: carve a line first, flood it with underglaze, then scrape the surface clean so only the line holds color. Watercolor: thin it heavily and build in washes. Screen printing and stencils for repeats. Mono printing off a slab. And plain painting, which is the one everybody underrates.
All six work because underglaze does not move in the firing. That single property is what buys you every one of them.

Bare underglaze fires matte and chalky, and it is not a food surface. The clear glaze over the top is what makes the color deepen and the piece functional, and it changes the result enough that judging your work before it goes on is a mistake.
Look at the Speedball tiles on this page: each one is half bare and half under clear. The difference is not subtle, and it is the reason you should always test a color under the same clear you plan to use.
One studio rule belongs here, because it changes how you plan a piece. Underglaze is one of the most expensive things on our shelves, so ours is not for broad coverage. Use it for line work, detail, lettering and drawing. The single exception is sgraffito, where a solid coat is the whole technique and covering the pot is the point.
If you want to cover a whole piece, buy your own and use it to your heart's content. We carry Amaco Velvet and Speedball, so match either brand and it behaves exactly like ours on our clay at our cone.
No. In this studio underglaze goes on raw clay, and the piece gets bisque fired before any glaze touches it.
Three liberal coats for solid color. Fewer reads as a wash, which is a legitimate effect if you meant it.
For anything functional, yes. Bare underglaze fires matte and is not a food surface.
No. They do not move or flow, which is exactly why this is the range for drawing.
Yes, within a range. Both makers list their colors as intermixable.
Roughly, how much clay is in it. Engobes carry more and shrink more, which is why they crack on greenware if you get it wrong. Underglazes are safer for detail work.
If you are painting a picture on a pot, this is the page. If you want the surface to do something you did not fully plan, almost every other page on the Bible is a better bet.
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.