Satin and Matte 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.

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.

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 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 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. On paper it sounds unremarkable. 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 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 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 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 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 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 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.

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.

A light purple with lighter visual spot texture where thick. Amaco describes it as light and airy as a cloud at sunset.

A pale, cool pink with white visual texture where thick.

A deep indigo blue with lighter blue visual texture, reminiscent of a night sky through a rain spattered window.

A vivid turquoise with subtle spots where thick. Amaco calls it a rich, tropical color.

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.

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.

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 calls 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 lists it among its 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 recommends 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 calls Gun Metal Green over Lapis Satin one of the most popular combinations it sells, and says 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 says it works on its own and combines well with both its 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 describes 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 lists it among its most popular glazes, especially over its Archie's Base.

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

A runny but beautiful glaze. Pale pink or sometimes cream colored on its own, the Archie's really shines when combined with other glazes, changing their colors and pulling them into interesting new patterns.

A pale blue with soft lavender tones and beautiful blue crystals. Looks different in each firing and explodes with crystals in a slow cool. Treat with care, it can be runny.

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

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

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

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.

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

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.

A beautiful, but runny, glaze, similar to the Archie's Base but more reliably pink. Combines well with any Coyote glaze.

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 calls 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 specialized glaze, Oxblood contains a chemical that causes it to reduce locally, producing a true copper red in your electric kiln without a special firing. Because of the way this glaze works, it needs to be very thick to produce the red color. Thinner spots will be clear or grayish.

A specialized glaze with a carefully balanced formula, creating true reduction copper red in your electric kiln. Snowy Plum uses a chemical that reduces the glaze locally, and must be applied very thick for the reduction to work. Care should be taken to prevent running.

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

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

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 notes 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 builds it on White Matte and says 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 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.

A dusty mauve purple with a soft mottle. Muted rather than bright.

A gray textured glaze that fires to a raised, cratered surface. Same family as Dark Magma, lighter ground, and again thickness controls the texture.

An acid yellow-green with dark green crystal blooms scattered over it. Loud.

A dark brown ground with fine gold micro-crystals scattered through it, closer to a metallic than to a color.

A mid blue ground carrying fine white and darker blue micro-crystals.

A warm amber gold with fine crystal texture through it and a lighter break over the relief.

An olive green ground with fine gold and green micro-crystals, and a warm break on the edges.

A pale cream with a fine pearl shimmer. The subtlest of the Micro group on our tile.

A deep navy with lighter blue and gold breaking across the relief. Dark, wet-looking and one of the strongest blues we carry.

A soft warm white, opaque and even, closer to old milk glass than to a bright white.

A pale mint green carrying fine dark speckle throughout.

A dark olive ground with gold breaking hard on every raised edge. The contrast is where this one earns its name.

A gray-green ground with heavy dark mottling and a pitted, cratered look.

A white textured glaze that cracks as it dries and stays cracked through the firing. Mayco is direct that if it does not crack before the firing it will not crack after, and that the texture makes it decorative only.

A sandy tan and olive that pools green in the recesses and goes gold on the high points.

A black ground with pale green and yellow crystal blooms opening across it.

A soft blue-gray with cloudy variegation, quiet and even.

A black ground with an olive green float sitting on top. The float gathers where the glaze pools.

A pale green cream with a gold lustre breaking on every edge.

A dark red-brown with lighter red and cream breaking through it.

A deep violet with blue and green crystal blooms scattered across it.

A red-brown ground with black pepper speckle over it.

A soft pink with an opal shimmer and paler blooms drifting across the surface.

A clean bubblegum pink with a pearl sheen. The brightest pink on this shelf.

A pale lavender with darker purple and blue speckle scattered through it.

A dusty raspberry pink, opaque and even, with very little break.

A pale blue-gray with rust and dark speckle mottling across it.

A deep glossy brown with amber breaking on the raised edges. Wet-looking and dark.

A soft pink with a pearly sheen and a lighter break over the relief.

A pale sand cream with dark speckle scattered through it, close to a real sandstone in reading.

A warm off-white with fine tan speckle. Quieter than Sandstone next to it.

A dark teal green with heavy rust and brown mottling over it, like something pulled out of the water.

A dusty olive gray with a warm gold break on the edges.

A mid denim blue that breaks lighter and warmer over the raised lettering.

A white ground with blue crystal blooms scattered across the surface, heavier toward the bottom where they ran.

A mottled brown and gold with streaks of deep red running through it. Genuinely looks like the stone.

A rich saturated teal, glossy, breaking to a lighter green on the relief.

A warm white with brown speckle gathering unevenly across the surface, like bark on snow.

A near-black brown with an intermittent metallic break. Mayco describes it as producing an intermittent effect rather than a flat color.

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

A deep wine red that goes nearly black where it pools.

A dusty blue-lavender with pink drifting through it. One of the softest surfaces in the line.

A deep cobalt with green mottling breaking through the blue.

A warm cream yellow, even and quiet.

A very pale ice blue. Barely there, and it needs texture to show anything at all.

A dusty mauve with dark speckle scattered through it.

A warm off-white with the faintest drift of color through it. The quietest thing on this shelf.

A soft blue-lavender with a shimmer through it.

A bright orange-red with a mottled surface underneath.

A soft peach orange with cream drifting through it.

A bright raspberry red with a slight sparkle in the surface.

A deep cobalt that goes glossy and even out of the bucket. The house blue, and the one most members reach for first.

A soft cream with a faint green cast where it pools. The quietest bucket we run.

A dark mottled surface that shifts between purple, green, blue and brown depending on thickness. The only Black Level bucket, and the least predictable one.

A near-black charcoal that stays flat and even. One second in the bucket is all it takes.

A soft olive green with a stony surface. Four seconds, the longest dip of the seven, and it needs every one of them.

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.

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

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

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

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

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 satin matte clear. Mayco says it fires to a satin matte at cone 5 and 6 and goes more satin at cone 10. This one is off the shelf and needs asking for.

A matte clear with a fine crackle pattern. Mayco's own name for it is Crackle Matte Clear. Rub ink into the cracks after firing to show the pattern.

A clean bright violet, opaque and even, with very little 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 deep saturated teal, even across the tile.

Rust brown with gold and darker mottling moving through it. One of the more active surfaces in the group.

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

A dark brown that breaks to a warmer red-brown on the raised edges.

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

A pale gray-cream with soft blue streaking across the surface, like weather rather than a color.

A near-black blue-gray with streaking through it. The dark counterpart to Cloud Burst.

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

A dark forest green with lighter green breaking over the relief.

A deep green with gold breaking hard on the raised letters. Similar contrast to Nori Green on the Floating shelf.

A bright yellow with darker gold pooling in the recesses.

A cream with warm amber gathering in the low spots. Subtle, and it needs texture to show what it does.

A slate blue-gray, mottled across the surface.

A mid purple. Matte and chalky bare, deeper and glossy under clear.

A pale blue-green. One of the lightest in the range.

A muted yellow-green.

A true black, and the one most people use for line work.

A very pale ice blue.

A mid warm brown.

A soft candy pink.