Shinos
16 glazes / Coyote
A shino breaks brown where it thins. That is the whole idea, and it means the glaze draws every carved line, every throwing ring and every edge on the pot.
Coyote have been selling the original of these since 2002, and they now run to sixteen colors on our shelf, all doing the same trick in different places on the color wheel.
Cone 5/6Bisque to Cone 042 studio favorites
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Shinos by the numbers
16glazes on our shelves
16at Black Level
6good on texture
2studio favorites
Friendly studio tip for this glaze family
A shino tells you where your pot is thin.
It breaks brown at every edge, every carved line and every throwing ring, and stays its own color across the flat. So a smooth pot gets you a fraction of what this shelf does, and a textured one gets all of it.
Coyote also built these to go over other glazes. If you want to see what a shino really does, put it over something.
Every Shinos glaze we have in house
Hover any tile to see a pot fired in it, or tap once on a phone.
Jump straight to one
Nothing by that name.
16 to choose from
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How the Shinos line works
Sixteen glazes, fired between witness cone 5 and witness cone 6.
Coyote make these in Albuquerque to get gas-firing depth out of an electric kiln, and they are unusually easy to live with for a glaze that moves this much: easy to apply, and not runny. What changes the result is thickness, not luck.
Coats
Coyote fire these between witness cone 5 and witness cone 6, which is where our kilns run.
Thickness is the whole control. Thin breaks brown, thick holds the color. On a textured pot that happens by itself, which is why Coyote say the Shinos are at their best over texture.
Layering
Coyote designed this line to go over things, including their own glazes. Their Gloss series doubles as a base for the Shinos, and several of the sixteen have a specific partner Coyote name themselves.
Butterscotch produces a furred pattern over a Gloss glaze. Sunrise is recommended over black. Cedar is recommended with black, and Blue is recommended against a bright color like Buttercup.
Food and safety
Coyote have their recipes reviewed by an independent toxicologist and none of them use lead.
They ask that you test your own finished ware for food safety, because the clay body and the firing both change the result.
Clays that suit Shinos
A shino breaks where it thins, so the surface of the pot matters more here than the color of the clay.
On textureThis is what the line is for. Carving, throwing rings, impressed pattern and a crisp rim all pull the brown out. A smooth pot gives you the flat color and little else.
Any body worksThese are opaque, so everything from #16 Porcelain to Berlin Gray will carry them.
Buff bodies52 Buff and Speckled Buff sit naturally with the earth tones running through this line.
Worth knowingCoyote say crystals can form in the liquid glaze if it is stored below 65F, which explains an odd looking jar that has been somewhere cold.
From The Clay Hole University
More info about Shinos below, but first... Everything we teach about glazing, written down and taught properly. These are the glaze lessons, and they are a small corner of a library that runs from centering your first pot to selling your work.
GuideGlaze Brushing Techniques, Coat by Coat
GuideGlazing Big and Intricate Pottery Faster
GuideGetting the Most Out of the Mega Glaze Tool
GuideMaking, Logging and Dialing in Test Tiles
GuideGlaze Problems, Causes and Fixes
GuideGlazing on the Wheel for Even Coats and Clean Bands
GuideBubble Glaze with Dish Soap
GuideMixing Your Own Glazes: What It Actually Involves
GuideMaking a Glaze Catcher
GuideOxide and Carbonate Washes
GuideWhen to Use Celadon Glazes
GuideHow to Use Dipping Glazes
UnderglazeHow to Use Underglaze: Techniques, Rules and Firing
UnderglazeMishima: How to Inlay Slip and Underglaze into Carved Lines
UnderglazeWipe-Away Texture: Underglaze and Oxide Washes on Bisque
The Shinos test tile pot
Every glaze family on our shelves has its own test tile pot, and it is the fastest way to decide what to put on a piece. It is a fired pot wearing the whole family, one numbered tile per glaze, on a surface built to show you what that glaze actually does rather than just what color it is.
Look for Coyote Shinos written on the rim. Each glaze on this page carries its tile number, and the numbers run around the pot.
One trick worth knowing
Some glazes tell you loudly that they run. Others hide it. Look at how the brushed lines fired: crisp edges mean a stable glaze, and edges that went soft and fluid mean it moved, and it will move on your pot too.
About these images and what your pot will actually look like
We have done our best to represent every glaze here accurately, and you should still expect your pot to look different from what is on this screen.
Our glaze tile images are digitally created. They are built to show the character of a glaze, not to be a color match.
A screen is not a printout, a printout is not a test tile, and a test tile is not a finished pot. Each step in that chain shifts what a glaze looks like, sometimes a lot.
On top of that, the pottery itself changes the result: the clay body, how thick the glaze went on, whether it was brushed, dipped or sprayed, what was layered under or over it, where the piece sat in the kiln, how hot that spot ran, how fast it cooled, what was fired next to it, and how much texture the surface had. Two pots glazed from the same jar on the same day can come out different.
Treat every image here as a starting point, and treat a test tile fired on your own clay as the real answer.