Studio Favorites

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

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

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

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

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

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

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

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

A vibrant blue-green, and the strongest color Amaco put in this line. The crackle network reads clearly through it rather than being swallowed by the color.

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.

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 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 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.

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.

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 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 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 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.

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.

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

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.

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.

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

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

A translucent 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 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.

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

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

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.

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.

A deep blue with a smooth, glossy surface. Coyote calls 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.

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

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

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

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 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 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.

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

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

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

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

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

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

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

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

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

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

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

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

A dusty mauve sitting over a warmer ground, with coral breaking through on every raised edge. One of the clearest examples of what this series is named for.

The one the series is built around. Gray-green floats over blue with olive and smoky bronze pooling in the recesses, and it reads like two glazes layered when it is only one.

A warm red-brown with purple mottling through it, lifting lighter and more copper on the edges.

A soft cornflower blue with white clouding floating over it.

A pale pink-cream with a pearl cast. The softest thing on this shelf and an easy background color.

A near-black olive with green and gold breaking on the raised edges.

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 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 gunmetal metallic with a genuinely reflective surface. Not a shimmer, an actual mirror.