Food Safe Glazes

A modern stand-in for Albany slip, the natural clay that gave American potters their default brown for most of a century. The real material ran out decades ago. This is the color it left behind.

An iron red with a metallic shimmer over it. The color is deliberately unstable across a single surface, and that is the point: it goes dark brown wherever it thins over a raised edge, and it pools a deep yellow-green wherever it gathers in a recess. Flat open areas hold the copper. The overall read is a metal object that has been buried for a while and dug back up.

Three colors in one jar, and which one you get is decided entirely by thickness. Thin, it fires a soft black. A little heavier, olive green. Heavier still, rust red. On one pot with any relief at all, you get all three at once.

A light opaque blue with a smooth, even surface, which makes it one of the calmer glazes in a line full of loud ones. The interest is in the break: over a raised edge it pulls back to tan, so texture draws itself in a warm line against the cool field.

A glossy light blue-green carrying metallic spots that float up during the firing. The effect Amaco is chasing is a copper roof that has been weathering for a century, and it lands: a soft green field with metal breaking through it.

A cool blue that breaks milky green and then pools pale in the low spots, which is exactly the trick the name is describing: shallow water over sand, deeper water further out.

Reads as a glossy black until the light hits it, and then blue comes up wherever the glaze is thick. It is a black glaze with a blue secret rather than a blue glaze that went dark.

Amaco calls it one of the best sellers in the line, and the reason is that it never does the same thing twice. Thick, it is a flowing light blue. Thin, it breaks brown. Between those two states it stays busy: streaking, pulling, and following whatever the form gives it.

A glossy royal blue that grows small triangular crystals in dark gray metal as it cools. The reference Amaco reaches for is lapis lazuli, and the comparison holds: deep blue stone with metallic flecks scattered through it.

A soft blue-green matte that Amaco compares to a stone worn smooth at the bottom of a river, and the softness is the point. There is no gloss to bounce light around, so the color sits quietly on the form.

A translucent pink-red that breaks light tan over texture. It is chasing the copper reds of historic Asian pottery, and Amaco's own framing is worth keeping: it gets there with a reliable color response in an oxidation kiln, which the originals could never promise.

An oxblood red, a color that is hard to get out of an electric kiln at all. Traditionally it takes a gas kiln and a reduction atmosphere. This gets the same result in ordinary oxidation.

A gold glaze with sparkle in it, and under direct light the sparkle carries flecks of red and brown rather than being a single flat glitter. It is one of the newer glazes in the line and it reads more like a mineral than a metal.

A dark glaze carrying shimmering flecks that pull into streams and patches as they move. Amaco compares it to a hare's fur glaze, one of the old Chinese temmoku effects where iron separates during cooling and draws fine streaks down the pot.

A sparkling dark brown that breaks light yellow-brown over texture. The sparkle is the unusual part: it shifts between silver and copper depending on the angle, which gives the whole surface an iridescent quality rather than a fixed color.

A translucent emerald built to show off carving. Because you can see through it, the relief underneath is not covered so much as filled: deep cuts hold more glaze and go darker, shallow ones stay light.

An opaque brick red with black specks running through it, and a strong presence on a pot. Where it thins it turns translucent, so edges and raised lines lighten and let some clay show.

A rich translucent green with darker green speckles suspended in it. The gloss and the translucency together mean the clay body underneath still contributes, so the same jar looks different on white stoneware than on a darker clay.

A warm russet, translucent, with dark specks scattered through it. Amaco's own comparison is to reduction stoneware, and that is a fair description of the result: it looks like a wood or gas fired surface that came out of an electric kiln.

A glossy green that breaks lighter and then pools into a gray-green with mauve in it. Two colors, and the second one is unexpected: the mauve is what stops this from being an ordinary green glaze.

Deep red where it is thick, icy blue where it is thin, and the transition between them across one pot is the entire reason this glaze exists. It is a copper red built for an electric kiln, with a blue break on texture that no traditional copper red would give you.

A copper red carrying purple and blue through it, which is what the name is pointing at: the shifting colors of a flame rather than a single red. Like Copper Red, it produces in oxidation what traditionally took a reduction kiln.

An opaque gray-blue that looks crackled over a deeper blue, except the surface is not actually crackled. It is smooth and satiny to the touch, and the crackle is a visual effect inside the glaze rather than a real network of lines.

A warm translucent yellow with a semi-gloss surface, and the comparison Amaco reaches for is whipped honey, which describes both the color and the slight softness of the finish.

An intense cobalt blue with a lighter blue floating on the surface of it, which gives the glaze visible depth: one blue sitting on top of another rather than a single flat color.

Brown where it is thin, with blue-gray floats coming up where it is thick. Amaco describes it as a more restrained relative of a straightforward blue glaze, and restrained is the right word: the blue is present but it never takes over.

A glossy soft yellow with flecks of iron scattered through it. Mostly opaque, and it breaks clear over texture, so raised edges show the clay through it.

A glossy dark glaze that reads deep chocolate brown where it is thin and grows a beige-bronze float where it is thicker. The float is what separates it from an ordinary brown: on a full application there is metal in it.

A glossy dark green that grows small triangular crystals as it cools, iridescent enough that Amaco reaches for the wings of a beetle to describe it. That comparison is not marketing; the crystals really do sit on the surface like shell.

An opalescent gray that changes noticeably across a textured surface. Opalescent is the right word rather than opaque: there is a milky depth to it that shifts with the light.

A glossy opaque green with a soft, even finish, named after the stone and behaving like it: consistent, calm, and slightly luminous rather than busy.

A toasty light beige, relatively translucent, breaking clear over texture. On its own it is a quiet, useful neutral that lets the clay body show through.

A metallic glaze that fires to a mirror. Not a shimmer or a sheen, an actual reflective surface, which is rare in mid-fire and is the reason this glaze exists.

A glaze with two distinct personalities at either end of its range. At cone 5 it is a matte violet. At cone 6 it turns glossy deep indigo and grows purple crystal floats on the surface.

Sandy dark brown feathering into near black, then breaking to a rich amber over texture. Three states in one glaze, and they sort themselves out along the relief of the pot.

A glossy denim blue with a wispy white rutile float drifting across it, breaking green-gray over texture. The float is the feature: it does not sit still, it flows with the form.

A modern reading of oribe, the Japanese green glaze tradition that goes back to the sixteenth century. This version is blue-green with a burnished satin surface rather than a glassy one.

A dark gold that fires closer to bronze than to yellow, with a satin matte surface rather than a shine. It reads as metal that has been aged rather than polished.

A deep green that breaks brownish over texture and becomes more fluid as it gets thicker. That last part matters: this glaze does not just look different when applied heavily, it behaves differently.

A warm dark purple with a soft lilac float drifting over the surface. Purple is a difficult color in mid-fire, and this one gets there without going pastel or turning brown.

A satin matte dark brown and tan with speckling through it, named for a glaze tradition that goes back centuries. The texture in it is the point, and so is what it does not do: it stays consistent.

A subtle turquoise gloss that reads green-beige where it is thin and a real aqua where it is thick. The two states are far enough apart that a single pot with relief shows both clearly.

An opaque warm gray carrying subtle frothy tones of pink and green. Described plainly it sounds unremarkable, and on the pot it is not: the pink and green surface within the gray keep it from reading as flat.

An intense opaque blue-green with a smooth, strong surface. Where most of this line is built to break, pool and float, this one holds a single saturated color and holds it well.

A delicate light green built to reproduce the classical Asian celadons, and it gets close. Celadon is a long-established glaze effect, a pale green transparency that was originally chasing the look of jade.

A flowing green carrying a metallic sheen, and Amaco's reference for it is Persian lusterware, the medieval technique that put a metallic shine onto a glazed surface.

A glossy shino that yields varied shades of blue and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of blue and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of brown and tan depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of brown and tan depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of cream, orange, and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of cream, orange, and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of salmon pink, orange, and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of salmon, orange, and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of mint green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of mint green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

This 100% mixable celadon glaze is a light, glossy blue-green that pools darker turquoise and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep translucent gray that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy, soft, blushing pink that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep, glossy cobalt blue that pools and accents textured ware like the ancient glazes they are created to imitate.

This 100% mixable celadon glaze is a cool transparent blue that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a transparent indigo blue that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a dark, glossy blue-gray that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a pale transparent blue-green that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy, ice blue that pools darker blue and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy medium brown that pools darker brown and accents textured ware like the ancient glazes it is meant to imitate.

This 100% mixable celadon glaze is a cool, glossy emerald green that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a translucent aqua-tinted blue like a tranquil inlet.

This 100% mixable celadon glaze is a cool, glossy lavender purple that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy, deep yellow that pools and accents textured ware like the ancient glazes it is created to imitate.

Originally formulated to dilute the color of Celadon series glazes, C-11 Mixing Clear can be used as a stand-alone clear glaze.

This 100% mixable Celadon glaze is a deep, glossy purple that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a deep, opaque black that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a light amber brown that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a bright, glossy yellow-green that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a light red that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep, glossy forest green that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a semi-translucent deep russet brown like a Southwestern mesa.

This 100% mixable celadon glaze is a translucent pale soft green like a tall cactus.

This 100% mixable celadon glaze is a semi-translucent warm light brown like a sandy dune.

This 100% mixable celadon glaze is a lively, glossy sky blue that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a light transparent gray that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable Celadon glaze is a bright, glossy red that accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a glossy, opaque white that can be used to tint the colors of other AMACO Celadon glazes.

This 100% mixable celadon glaze is a deep, glossy navy that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a translucent spearmint green - fresh and spring-like.

This 100% mixable celadon glaze is a transparent orange that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a soft, glossy medium green that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a soft, glossy raspberry red that pools and accents textured ware like the ancient glazes they are created to imitate.

Dark Star is a fluid, dark matte glaze with iridescent crystals like a beetle shell.

Mars Crystal is a highly fluid, dark brick red glaze with silvery, iridescent crystals.

Solar Flare is a highly fluid light brown glaze with an iridescent crystalline surface.

Solar Rainbow is a highly fluid, dark gloss glaze with iridescent rainbow crystals.

Supernova is a highly fluid creamy white translucent glaze with a crystalline surface like frost on a window.

Amethyst fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Avocado fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Baby Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Blue Green fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Blush fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Bright Orange fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Bright Red fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Cactus fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Chartreuse fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Chocolate Brown fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Cinnamon fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Coral fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Dark Green fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Deep Yellow fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Electric Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Elephant fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Flaming Orange fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Hunter Green fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Iceberg Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Indigo fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Intense Yellow fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Ivory Beige fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Jet Black fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Lavender fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Light Green fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Light Red fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Lilac fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Maroon fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Medium Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Morning Fog fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Nectar fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Orange fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Peach fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Pearl Gray fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Pistachio fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Purple fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Radiant Red fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Real Orange fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Red fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Red Brown fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Rose fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Royal Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Salmon fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Sea Glass fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Slate fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Straw fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Teal Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Teddy Bear Brown fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Terra Cotta fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Turquoise Blue fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Ultra Black fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Ultra Violet fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Ultra White fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Velour Black fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Violet fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

White fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Yellow fired on our test tile two ways. The left half is the underglaze on its own, matte and chalky the way bare underglaze reads. The right half is the same color under a clear glaze, which deepens it and adds a little gloss.

Dark blue where thick, reddish-brown where thinner. A rich glaze that looks great over texture or combined with other glazes. Contrasts great with bright colors like Buttercup.

A neutral tone that breaks to dark brown over texture, and produces a marvelous furred pattern over Gloss glazes. A great glaze for adding warmth to textured pieces.

A variegated reddish-brown that breaks over texture. Often attains a lacquer-like finish, but can turn glossy pink where thickest.  Beatiful with Black.

Varying from a sagebrush green to a dark reddish brown. Coyote call it one of the most popular glazes in the Shino line, and the natural green and brown tones sit well on most work.

A variegated black and brown color. Popular for combining with brighter colors like any dark Shino, or as a more natural looking alternative to Black.

A warm yellow glaze that breaks to brown over texture. Breaks less than the other Shino Glazes, but still provides the same signature look. Great to layer with darker colors.

A dark green that breaks to brown over texture, and has a metallic sheen where thicker.

A slightly lighter shino dusted with orange-brown spots. Breaks to brown over texture, and combines with other glazes.

In its thickest spots, Light Blue Shino is a pale blue, but where thinner it breaks to brown.

A beautiful glaze the color of coffee and cream, which breaks to dark brown where thin. Has a more satiny finish than most of the other Shinos.

A mint green shino that breaks to brown where it thins. Coyote list it among their most popular glazes.

A fairly muted purple that breaks brown over texture. The purple color will be most intense where the glaze is thickest.

A light brown with some cream tones, breaking darker brown over texture. Has a less glossy finish than most other Shino glazes, usually resulting in a nice satin.

The original cone 6 Shino, sold by Coyote since 2002! A rich brown color that breaks darker over texture, giving an awesome gas-fired look in any kiln.

A deep charcoal color that breaks black over texture. Can be glossy or satiny depending on the thickness and firing environment.

A warm color with pink and orange tones that breaks to brown where thin. Coyote specifically recommend putting it over black, where the warm tones have something to sit against.

A smooth, not quite glossy white, Alabaster Satin is ideal as a liner glaze for functional ware. Try using it with underglaze like a majolica base.

A bright blue that feels warm and soft. Doesn't run, combines great with other colors, especially more mobile ones like the Archie's Series.

A deep blue that absorbs the light and draws the eye. Cerulean Satin works great on its own, and looks even better under Bronze Temmoku or Archie's Base.

A great alternative to Black for potters looking for less shine on their finished work. A natural looking dark charcoal color that absorbs light.

A bright, true red. Similar to the Really Red glaze, but with a less glossy finish that absorbs the light.

A pinkish red with a buttery surface. Doesn't break or run, combines great with other glazes.

A solid, unbreaking green. Forest Satin looks great on its own, or under other, runnier colors.

An unbreaking brown, suitable for nearly any use.

A deep bluish purple with no breaking. Coyote call Gun Metal Green over Lapis Satin one of the most popular combinations they sell, and say it makes something unlike either color on its own.

A bright and unbreaking yellow, similar to Buttercup but without the glossy finish.

A warm purple, considerably brighter and less blue than the Lapis Satin. Orchid Satin's bright tones and subtle surface make it a perfect contrast to darker, glossier glazes.

A bright bluish green with a smooth, buttery feel. Great as a slightly calmer, less glossy alternative to Mint.

A bright pink with a haze over it where the glaze goes thick. Coyote say it works on its own and combines well with both their Gloss and Archie's series.

A rich brown that does not break. Where it goes thickest it develops a slight purplish haze, which is the only place this one moves.

A mottled grayish blue. Coyote describe it as the same surface variety as Pam's Green with a less intense color, so it is the quieter of the pair.

A deep mottled green with a rich variegated surface. Coyote list it among their most popular glazes, especially over their Archie's Base.

An intense mottled pink with a paler pink haze where thick. Smoother and glossier than the rest of this shelf.

A gentle, translucent blue-green color, similar to a traditional celadon. Easy to apply and reliable. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent pink that won't cover underglaze. Develops a slightly bluish haze where thickest. Great for any application, though colors show best on white clays. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing.

A translucent purple. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent deep green. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent green, great for any piece with texture or underglaze. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent deep blue. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent greenish gray, which develops a blue haze where it is thickest. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent pale pink. A unique and warm alternative to traditional celadon finishes, Peach Blush is perfect for porcelain. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing.

Coyote call it their best-selling celadon. A deep translucent green, which pools to a cloudy blue where thickest. Peacock Green is not recommended for food ware, as it can change color when exposed to acids such as lemon or vinegar. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Not recommended for use on food ware.

A translucent vivid red. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent bluish purple, pooling to blue where thickest and sometimes breaking gray where thinnest. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent brown that pools beautifully. Varies from caramel to deep chestnut depending on the thickness. Unlike the other Celadons, Root Beer can be a bit runny. Frank's Colored Celadons are a beautiful series of translucent glazes. They look great on their own or combined with other glazes.

A deep, clear blue. Translucent enough to be used over fine details or underglaze, Sapphire starts as a pale blue and becomes darker as it pools. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A bright, translucent color that adds warmth to any piece without hiding detail. Easy to apply and reliable. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing.

A translucent light blue. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A deep gray-green Celadon with deeper green tones and splashes of blue where thickest. Great for any work with texture or underglazes Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A bright, translucent yellow. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A translucent bright orange. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

An astounding deep blue-green color with tones of brown where thin. Has a flowing look in a regular cool and gold crystals when slow-cooled.

A deep, intense blue. One of the most dramatic of the Constellation glazes, Antares will develop starry crystals and shades of bronze as it is cooled more slowly.

A golden brown with occasional purple and blue tones when slow cooled, and a greenish blue with brown tones when not.

A shimmering green that can break brown where thin. Aries changes from glossy to matt when slow cooled, as tiny crystals grow across the surface.

A brown glaze with blue tones when cooled quickly, and bronze tones when slow cooled. Looks vastly changed on different clays and at different thicknesses.

A variegated glaze with brown, orange, blue, and golden tones. Developed as an alternative to Red Gold for people who have problems using that glaze.

Coyote call it the signature glaze of the Constellation series. Orion is a beautiful glaze that varies from brown where thin, to bronze, to blue where thickest. When slow cooled, it is shot through with golden crystals.

A creamy brown glaze with reddish tones and touches of orange. Often develops tones of blue, especially when slow cooled.

A translucent brown with mesmerizing rivulets, Ancient Iron can display a dazzling array of colors. Under the right circumstances, amber, coffee, purple and blue tones can show across a surface, and gold crystals can even form in the areas where the glaze cools slowest.

A deep striking blue that cascades over texture, Azure Dream is, in Coyote's words, the most popular Fantasy glaze with their own students and studio members. Pots covered in this glaze have a way of stopping people in their tracks.

Coyote have not published a description for this one. On our shelf it is recorded as teal, green, satin and opaque, and the tile photo above is a fired sample from our own kiln.

Coyote have not published a description for this one. On our shelf it is recorded as blue, teal, brown, purple, satin and opaque, and the tile photo above is a fired sample from our own kiln.

Varying from soft orange to a mottled pink, Enchanted Sunset is loaded with microcrystals. The crystals and colors vary with thickness, creating a surface that draws the eye in deeper the longer you look.

A bright pink with delicate mottling, the intensity of Fairy Rose is mostly dependent on its thickness. Perfect for adding a bright accent to your work, Fairy Rose combines beautifully with other glazes.

Coyote have not published a description for this one. On our shelf it is recorded as teal, gray, blue, green, glossy and opaque, and the tile photo above is a fired sample from our own kiln.

Coyote have not published a description for this one. On our shelf it is recorded as blue, glossy and opaque, and the tile photo above is a fired sample from our own kiln.

Coyote have not published a description for this one. On our shelf it is recorded as teal, blue, satin and opaque, and the tile photo above is a fired sample from our own kiln.

Coyote have not published a description for this one. On our shelf it is recorded as blue, green, satin and opaque, and the tile photo above is a fired sample from our own kiln.

A translucent brown with mesmerizing rivulets, Phoenix Egg can display a dazzling array of colors. Under the right circumstances, amber, coffee, purple and blue tones can show across a surface, and gold crystals can even form in the areas where the glaze cools slowest.

Coyote have not published a description for this one. On our shelf it is recorded as purple, blue, gray, satin and opaque, and the tile photo above is a fired sample from our own kiln.

Coyote have not published a description for this one. On our shelf it is recorded as black, yellow, teal, blue, satin and opaque, and the tile photo above is a fired sample from our own kiln.

A mottled charcoal gray that looks excellent on dinnerware, Sorcerer's Stone is a consistent favorite at the Coyote studio. Depending on the clay it can vary from almost black to light gray, sometimes even breaking blue or brown on texture.

Coyote have not published a description for this one. On our shelf it is recorded as cream, white, blue, gray, glossy and opaque, and the tile photo above is a fired sample from our own kiln.

Unicorn Horn is one of the most versatile and surprising glazes we have ever made. Varying from pearlescent white, to mottled ivory, to ancient yellow, Coyote recommend it for buff clays with plenty of texture.

Coyote have not published a description for this one. On our shelf it is recorded as green, teal, blue, satin and opaque, and the tile photo above is a fired sample from our own kiln.

A deep blue with a smooth, glossy surface. Coyote call it one of the most popular starting points for glaze combinations. Great for beginners and advanced potters alike.

A solid, opaque black with a smooth, glossy finish. Ideal for nearly any usage, on its own or combined with other glazes.

A bright, cheerful yellow. Perfect as an accent color, or as a contrasting layer to dark colors like Blue Shino or Espresso Bean. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing. T est all foodware to determine food safety.

A solid, unbreaking green. The pigment in Chrome Green will react with Archie's Base and cause it to flash pink, making this color a great choice for combining with that series.

A rich glossy brown. Great on its own or combined with the Archie's series, Cinnamon Stick develops a slight bluish haze at its thickest.

The perfect cover for underglaze, Coyote Clear Glaze is zinc-free and can be used o ver pinks and reds without damaging them. With proper application and firing, it provides a totally clear glassy surface.

A deep and intense blue that becomes darker as it gets thicker. Great for any use that calls for a darker color.

A stable and reliable glaze that is less bright than White, but has the same glossy finish. Great as a liner glaze for functional ware.

A glossy, translucent blue. T est all foodware to determine food safety.

A light seafoam green. Looks lovely with Shino glazes, or on its own for a bright glossy finish.

A glossy off-white flecked with dark brown specks. Has a smooth, glossy surface when fired.

A warm glossy orange. Great on any pot, and combines with any glaze. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A deep, dark, intense purple color, the "really purple" answer to our Really Red glaze. Provides a solid, unbreaking finish.

A glossy opaque orange with lovely reddish tones. Won't run, glossy finish. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

One of our most famous glazes, a true, bright red that won't quit. Truly eye-catching, and great as an accent or across a whole piece. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A deep, intense red with less brightness and a more natural tone compared to our Really Red. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A bright red-orange glossy glaze. Doesn't run and provides a smooth, bold color. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A glossy, bright white, with a smooth surface. Won't run, works great on its own or as a base for other glazes.

A yellow orange glossy glaze that does not run, in Coyote's own words. Solid and bold rather than variegated. Coyote note it contains cadmium and say it passes FDA cadmium release guidelines in their own testing.

A pale sage green, soft enough to read as a neutral until you put it next to a true gray. Glossy and fully opaque on our tile, with the raised lettering lifting about a shade lighter.

A deep olive khaki. On our tile the flat field goes almost brown-green and the raised letters lighten to a drab, dusty green, which is where the color is easiest to read.

A bright pumpkin orange with no brown in it. Fully opaque and high gloss on our tile, and louder than either Orange Ya Happy or Tiger Tail beside it.

So dark it reads black across the flat field. Only the edges of the raised lettering give away that it is a very deep navy. Close to Moody Blue, and worth comparing the two tiles side by side before you commit.

A soft periwinkle, more lavender than sky. Opaque and glossy, and it lightens noticeably over the raised letters.

A mid teal blue, even and glossy, sitting between Blue Yonder and Jaded on the shelf. Opaque at full coverage on our tile.

A clean light sky blue with no green in it. Opaque and glossy on our tile, and one of the easier blues to photograph accurately.

A dark plum that holds its purple rather than sliding to brown. The relief breaks to a lighter wine, which is what keeps it from reading flat.

A milky mocha brown, closer to coffee with a lot of cream than to chocolate. Opaque and glossy on our tile, and quieter than Camel Back next to it.

A caramel brown with an amber cast. Glossy on our tile, with the raised lettering pulling lighter and warmer.

A bright true red with no orange or brown in it. Opaque and high gloss on our tile.

A pale sand beige. Nearly a neutral, warm rather than gray, and it takes the raised lettering as a soft shadow rather than a contrast.

A dusty mauve pink, muted rather than bright. Reads more grown-up than the name suggests. Mayco call this one Cheeky Pinky.

A deep brick red with brown underneath it. Glossy and opaque, and darker than Candy Apple Red or Hot Tamale in the same line.

A soft off-white with a faint gray in it. Not a bright white. On our tile the raised lettering is only visible as a shadow, which makes it a good background color.

A bright caramel brown with real orange in it. Warmer than Camel Back or Java Bean, and the relief lifts lighter and more amber.

A warm red leaning coral, a shade softer than Candy Apple Red and noticeably warmer than Hot Tamale.

A bright egg yolk yellow. Fully opaque and glossy on our tile, and it holds its strength right up to the edges of the relief.

A warm mid gray with a little taupe in it. Sits between Gray Hare and Tip Taupe, and is the least cool of the three.

An acid chartreuse, the brightest yellow-green in this line. Glossy and opaque. Mayco spell it Glo-Worm.

A muted gray-purple rather than a saturated one. Softer than Grapel and Purple-licious, and closer to a dusty lilac at full coverage.

A deep magenta purple with real saturation. Mayco note that Grapel is made with chrome-tin pigments and can haze under a zinc-bearing clear glaze, so keep clear off it unless you have tested that pairing.

A plain mid gray with no warm cast. Opaque and glossy on our tile, and cooler than both Elephant Ears and Tip Taupe.

A deep olive green. Darker and cooler than Toad-aly Green, with the relief lifting to a lighter moss.

A pale yellow-green. Light enough to work as a background, and it shows an uneven coat more readily than the darker greens. Mayco call it Honeydew List.

A deep bright red with a slight blue undertone, which puts it a step cooler than Candy Apple Red.

A very dark forest green that goes nearly black across the flat field. The raised lettering is where the green shows.

A bright pumpkin orange, a touch lighter and yellower than Basketball. Opaque and glossy on our tile.

A soft blue-green teal, lighter and grayer than Blue Isle. Opaque at full coverage.

A dark chocolate brown. On our tile the relief breaks to a lighter red-brown, which is the only place you see any warmth.

A dark green with a yellow cast, closer to moss than to forest. Deeper than Leapin Lizard and less olive than Green Thumb.

A pale peach. Light, warm, and soft enough that the raised lettering reads as a shadow rather than a line.

A mid sage green, muted and slightly gray. Sits between Lettuce Alone and Just Froggy in depth. Mayco write it Leapin' Lizard.

A very pale green, one of the lightest colors in this line. Thin spots show, so it wants the full three coats.

A yellow-green lime, brighter than Honey Dew and less acid than Glow-Worm.

A dusty salmon pink with a lot of warmth in it. Softer than Cutie Pie Coral and less gray than Rosey Posey.

A very dark navy that reads black at a glance. The blue only shows where the glaze thins over the raised lettering. Close enough to Blue Beard that the two tiles are worth comparing.

A pale ice blue, the lightest blue in this line. Cool, quiet, and unforgiving of a thin coat.

A mid orange, a little deeper and rounder than Jack O'Lantern and without the red of Orange-a-Peel.

A bright orange pushed toward red, more saturated than Orange Ya Happy or Jack O'Lantern.

A soft lilac with gray in it, quieter than any of the purples. Mayco note Orkid is made with chrome-tin pigments and can haze under a zinc-bearing clear glaze, so test before you put clear over it.

A light periwinkle blue, cooler and cleaner than Blue Dawn.

A pale blush pink. Light enough that coverage matters, and the raised lettering barely shows.

A deep rose pink with real saturation. Stronger than Cheeky Pink or Rosey Posey in this line.

A mustard gold. Warmer and duller than Sunkissed, and closer to a dark honey than to a yellow.

A deep royal purple heading toward indigo. Dark across the flat field with the relief lifting to a clearer violet.

A soft wheat yellow. Muted rather than bright, and it works as a background where Dandelion would take over.

A dusty rose with gray in it. Muted, and a close relative of Cheeky Pink on the shelf.

A deep dark red with a wine undertone. The darkest red in this line.

A light neutral gray. Cooler than Elephant Ears and lighter than Gray Hare.

A bright yellow-green apple. Cleaner and greener than Lime Light.

A bright lemon yellow, cooler and cleaner than Dandelion.

A very dark teal green that reads near black across the flat field, with the teal showing at the edges of the relief.

A denim slate blue, softened with gray. Reads like worn indigo rather than a bright blue.

A burnt amber that sits between orange and brown. Glossy on our tile, with the relief pulling lighter and more golden.

A pale warm gray taupe. Lighter and warmer than Gray Hare or Silver Lining.

An avocado olive, lighter and yellower than Green Thumb. Mayco spell it Toad-ily Green.

A true black at full coverage, high gloss on our tile. The relief holds a little sheen where the coat thins, which is the only variation you get.

A creamy off-white with warmth in it. Softer than Cotton Tail and a good background for anything drawn on top.

A deep magenta wine. Saturated, dark, and more purple than any other red in this line.

A light sky blue carrying fine dark specks. The speck density reads best over a mid tone like this, where the contrast is obvious without fighting the color.

A soft off-white with tan and dark specks scattered through it. The lightest base in the speckled set, and the one where the specks do the most work.

A deep magenta plum with dark specks. Mayco make Grapel with chrome-tin pigments and warn it can haze under a zinc-bearing clear glaze.

A deep olive green with darker specks that mostly disappear into the base until you catch it in the light.

A deep bright red with black specks. High contrast, and one of the clearest speck effects in the set.

A soft blue-green teal with dark specks reading evenly across the surface.

A very dark navy that reads black at a glance. The specks are only visible when the light catches them, which is the trade you make with the dark bases.

A pale ice blue with fine dark specks. High contrast because the base is so light.

A bright orange pushed toward red, with black specks scattered through it.

A pale blush pink with dark specks. Our shelf label drops the hyphens Mayco use.