Metallic Glazes

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.

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.

A dark red-brown with copper and black mottling through it, exactly like tarnished metal.

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

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

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

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.

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

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