Glazes by Membership Level

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

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.

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 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 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.

Very similar to Copper Blue, but lighter in color and covered in fine crazing on most clays. A somewhat runny, translucent glaze that pools in textured areas. Fires red in reduction.

A bright electric blue, with a slight translucency when thin, and a deep mottled look over black.

A rich, dark iron glaze. Usually has a smooth, deep brown surface, but can also become reddish, especially when slow cooled.

An iron glaze with a light brown to yellow-orange color. Often Toshi Brown will develop surface mottling similar to wood or salt fired glazes, without those special firing processes.

A super durable glossy white glaze, perfect for porcelain. Gentle enough to let underglaze show through, but hard enough to repel acids and dishwashers.

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 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 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 mid turquoise that sits between Mediterranean Sea and a true green.

Built to look like it came out of a wood kiln. The Ceramic Shop photograph it on a buff stoneware tile half painted with porcelain slip, which tells you most of what you need: the lighter the ground, the more of the ash effect you get.

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

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 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.

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 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 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 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.

A somewhat runny, translucent glaze that pools in textured areas. Copper blue can serve as a nice base glaze, or sometimes an alternative to clear. Fires red in reduction.

A light brown glaze with a mottled, satin surface. Less breaking than the Shino glazes but with more variation than the Satins.

A translucent soft green with pale crystals. Crystals grow best on smooth, white clay.

A lovely glossy purple that sometimes breaks to green where thinnest.

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.

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.

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 black, yellow, 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 cream, white, blue, gray, glossy and opaque, and the tile photo above is a fired sample from our own kiln.

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.

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 soft off-white matte with warmth in it rather than a cold white. On our tile the raised lettering barely separates from the field, which makes it a quiet background.

A golden tan matte with a sandy, granular look. Breaks lighter and drier over the raised lettering.

A dark warm gray-brown matte. On our tile the relief lifts to a lighter taupe, which is where the leather comparison comes from.

A pale wheat cream matte, warmer than Alabaster and a shade deeper.

A soft dusty blue matte with mottling and white variegation across it. Mayco built three of this line, Weathered Blue, Storm Gray and Lemon Meringue, to change with coat count: one coat shows more color, extra coats increase the mottling and white variegation.

A pale sage green matte, quiet and even, with only a slight break over the relief.

A deep indigo violet. Darker and cooler than Bright Purple beside it.

A bright tomato red, opaque and even.

A clean bubblegum pink, fully opaque. The most saturated pink on this shelf.

A very dark olive brown that goes near black in the field, with a dry stony break on the edges.

A pale cornflower blue with a soft surface. Spectrum spell it Satin Wedgwood, without the middle e.

A deep saturated teal, even across the tile.

A dusty plum with pink and gray mottling, softer than the name suggests.

A cream with faint speckle through it. The quietest color in the group and a good background.

A golden amber, warm and even. Spectrum list a Texture Honey under two different numbers, so we have left the number off rather than guess which jar this is.

A clean saturated turquoise blue, even and bright across the tile.

A strong crimson red, opaque and even. Reds this clean are rare at cone 5 and 6.

A soft blue-violet, quieter than the rest of the line.

A bright egg yolk yellow, fully opaque.

A bright orange with real warmth in it. Coyote spell it Tiger Lily with one L in the middle.

A pale sand, soft and quiet on its own. As an overcoat it is the most neutral of the six, so whatever is underneath does most of the talking.

A soft periwinkle blue. Over a dark ground it is the overcoat that reads most like a night sky, which is where the oil spot comparison earns itself.

A very dark chocolate brown that goes nearly black across a flat tile. Under a pale overcoat it gives the closest thing to a classic oil spot: dark ground, bright spots.

A soft off-white. The highest contrast overcoat, and the one that makes spots read hardest against a dark undercoat.

A pale sage green with a faint speckle. Quiet on its own and the subtlest of the overcoats over a dark ground.

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 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 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 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.

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.

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.

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 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 glossy, opaque white that can be used to tint the colors of other AMACO Celadon glazes.

A solid, opaque black with a low satin sheen instead of a gloss. Amaco calls it a buttery black with a classic art deco look, and it sits at the dark end of a line built for even, quiet color.

Satin Matte Blue Green is an opaque, buttery deep teal glaze that accentuates textured ware and boasts a classic art deco appearance.

SM-53 Cayenne is a spicy and warm red satin glaze with an earthy undertone.

Satin Matte Chartreuse is an opaque, buttery pea-green glaze that accentuates textured ware and boasts a classic art deco appearance.

Clear Satin is a smooth, buttery zinc-free clear glaze that accentuates textured ware and boasts a classic art deco appearance.

Satin Matte Dark Blue is an opaque, buttery cobalt glaze that accentuates textured ware and boasts a classic art deco appearance.

SM-60 Goldenrod is a rich, deep yellow matte glaze like a summer flower.

A pale blue that Amaco describes as a buttery robin's egg. It is the lightest blue in the line and sits closer to a soft chalky color than to a bright one.

SM-3 Marble is a pale gray satin glaze, just a whisper of color like the polished marble it's inspired by.  Glaze fire to Cone 5-6.

An opaque light green. Amaco calls it buttery, and it lands on the yellow side of mint rather than the blue side.

SM-46 Moss is a deep forest green,  matte glaze with a hint of olive in the final color.

An opaque orange with the same soft satin surface as the rest of the line. Amaco describes it as buttery with a classic art deco appearance.

An opaque scarlet in Amaco's words, with the soft satin surface the line is built around. It is the brightest red of the two reds we carry in this family, with Cayenne sitting closer to terracotta.

SM-24 Seafoam embodies the serene beauty of the ocean, bringing a sense of calm and sophistication to any pottery creation.

SM-2 Stone is a  dark taupe satin glaze, smooth as a weathered rock.  Glaze fire to Cone 5-6.

Satin Matte Teal is an opaque, buttery blue-green glaze that accentuates textured ware and boasts a classic art deco appearance.

An opaque white with a soft satin surface. Amaco describes it as buttery with a classic art deco appearance. It reads warm rather than stark, and on a speckled clay body the specks come through.

Satin Matte Yellow is an opaque, buttery gold glaze that accentuates textured ware and boasts a classic art deco appearance.

Two glazes in one jar, decided by thickness. Applied thinly it breaks on the edges to a transparent green. Applied thicker it builds into a turquoise blue.

Dark blue and green with flecks of light blue through it, in The Ceramic Shop's own description. It breaks on texture and comes back warm brown where it does.

This one is from The Ceramic Shop's Sea Glass line rather than the Pro Series, and it sits on our shelf beside them. They describe the Sea Glass line as transparent and matte at the same time, built out around their Matte Clear.

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

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

One of our most varied and exciting glazes, Eggplant breaks from matt purple to glossy green, and develops intense blue crystals when it cools slowly. It can get runny, especially when extra thick or hot.

Coyote call it one of their most popular and most versatile glazes. A very runny, richly varied green that can be unpredictable, sometimes creating both matt and gloss areas on a single pot. Combines beautifully with almost all Coyote Glazes, and explodes with crystals in a slow cool.

A runny but beautiful pale blue glaze. Icy blue crystals appear frequently in this glaze, especially when it is slow cooled.

Possibly our runniest glaze, but also one of our most beautiful. Opal is a brilliant pearlescent blue that varies from translucent where thin to mottled where thick.

One of our most beautiful and pop ular glazes. Red Gold is a golden cream color with streaks of reddish brown. Depending on the thickness and firing, it can achieve a wide range of colors and finishes, sometimes including blue crystals. It can be very runny.

An exciting, exotic glaze that sometimes changes from blue to green depending on where it is placed in the kiln. Ideal for adding detail to sculptures, or as an unusual finish for non-functional ware. Perfect for potters looking for something unusual, our Crawl glazes have a tree-bark surface that's rough and dry to the touch. To achieve the crawling effect, they must be applied very thick, until the dry surface of the glaze cracks before firing. They can also be used over underglazes.

A beautifully creamy and translucent glaze, with tones of purple and large blue crystals. Coyote list it among the most popular of their Crystalline slow cools.

One of the most dramatic glazes available, Crystal Lagoon varies from deep cobalt blue where thick to brown where thin, and grows large blue crystals when slow cooled.

A beautiful translucent glaze with pale blue tones and gold colored crystals. Check out Ivory Crystal for a similar look without the blue.

A beautiful glaze with white and transparent tones, which grows large white and gold crystals when slow cooled. Ivory Crystal is perfect for elegant forms like vases and decorative bottles. Crystals grow best on smooth surfaces.

A pale translucent orange with large pink crystals. Rose Crystal is both cheerful and elegant. Perfect for decorative ware, especially over white clay.

Perfect for the insides of dishes, Satin White Liner is specially designed to resist crazing, staining, and everything else.

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.

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, 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 purple, blue, gray, satin 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 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 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 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.

A dusty rose pink with specks. Mayco flag this one as more translucent than the rest of the line, so it can need more than three coats to go fully opaque.

A soft periwinkle lavender with dark specks. The quietest color in the speckled set.

A light neutral gray with dark specks, which is about as close to a granite look as this line gets.

A bright yellow-green with dark specks.

A bright lemon yellow with dark specks. Strong contrast on a light base.

A dark teal green with specks visible mainly where the glaze thins. Our tile for this one is chipped at the top corner, so the photo shows the damage.

A denim slate blue with dark specks, softened with gray.

A bright red-orange with black specks.

A gloss black carrying specks you only see at an angle. The most subtle speck effect in the set for the same reason Moody Blue is.

A creamy off-white with dark specks. Warmer than Cotton Tail beside it.

A deep navy matte, mottled rather than flat, breaking to a lighter blue across the relief.

A flat black with a dry surface and very little sheen. Even across the tile with almost no break.

A very dark brown matte that breaks warmer and redder on the raised edges. Reads almost black in the field.

A pale cream matte with faint pink and gray flecks through it. One of the softest colors in the line.

A soft yellow matte with mottling and white variegation through it. Mayco built three of this line, Weathered Blue, Storm Gray and Lemon Meringue, to change with coat count: one coat shows more color, extra coats increase the mottling and white variegation.

A pale lavender matte, opaque and flat, with very little break over the relief.

A dusty salmon pink matte, opaque and even. Muted rather than sweet.

A very dark green matte that breaks to a lighter olive over the raised lettering. Nearly black in the flat field.

A teal green matte with heavy mottling and lighter variegation across the surface. Busier than Wintergreen or Satina Patina beside it.

A dark red-brown with a metallic cast and a mottled, corroded look. Sits at the glossier end of a matte line.

A soft blue-green matte with a patina-like mottle through it. Mayco call it Satin Patina.

A light gray matte with cloudy mottling and white variegation. Mayco built three of this line, Weathered Blue, Storm Gray and Lemon Meringue, to change with coat count: one coat shows more color, extra coats increase the mottling and white variegation.

A clean flat white matte. Opaque and even, and a quieter background than Alabaster or Macadamia, which both carry warmth.

A near-black brown matte that breaks to a warm brown on the raised edges. Darker than Black Walnut, and the closest this line gets to black without being Black Matte.

A coral pink that breaks into orange and yellow with dark speckle floating through it. One of the most active surfaces on this shelf.

A dark olive brown with a metallic sheen. Reads like tarnished hardware rather than like a glaze.

A soft sage green over a warm ground, with the green pulling back to amber where the glaze thins over the relief.

A creamy off-white that breaks brown on every edge. Mayco note the thinner it goes the more amber it reads, and the thicker it goes the more white floats.

A near-black brown with olive and amber breaking through in streaks. Looks like charred wood, which is the point.

A very dark brown, almost black in the field, breaking warmer on the raised edges.

A soft lavender blue with paler blooms drifting across it. Quiet and cloudy rather than flat.

A white semi-matte base carrying blue crystal blooms. Mayco build it on White Matte and say the crystals melt into small blue blooms, which is exactly what our tile shows.

A pale turquoise green that pools deeper in the recesses and pulls almost white on the high points.

A pale blue with rust and brown speckle breaking through it, like mineral staining on limestone.

A dark brown ground with a copper green float sitting on top of it. Two colors in one glaze, and where they separate is up to the thickness.

A warm copper orange that breaks lighter and dustier over the raised lettering.

A very dark brown with a metallic cast and rust breaking on the edges.

A textured black that fires to a raised, cratered surface. This is a texture glaze, not a color one, and the thicker it goes the rougher it gets.

A warm sand gold, even and quiet, with the relief lifting slightly lighter.

A deep aubergine purple, glossy and even, with a lighter break on the raised edges.

A very dark green ground with turquoise crystals scattered across it. Dark until the light hits the crystals.

A pale butter yellow, soft and translucent, with the clay reading through where it thins.

A black ground with blue and brown crystal blooms spreading across it. One of the most dramatic surfaces we carry.

A pale ice blue, opaque and even, and one of the calmest tiles on this shelf.

A bright white gloss with a fine crackle pattern all through it. Mayco recommend rubbing ink into the cracks after firing to bring the pattern out.

A soft blue-gray with an opal shimmer where it pools. Subtle, and it changes with the angle you look at it.

A pale green ground with dark green and black mottling washing over it like stone.

A muted sage green, flat and even, that breaks a shade lighter over the relief.

A warm amber gold that breaks white and dusty across the raised lettering.

A soft green with darker green pooling in the recesses and gold breaking on the high points.