Pro Series
4 glazes / The Ceramic Shop
The Ceramic Shop mixes its own cone 6 glazes in Pennsylvania and sells them mostly as dry powder to studios that dip. Four of them are on our shelf.
Three are from their Pro Series. The fourth, Seaglass Aqua, is from their Sea Glass line and lives here because it sits with the others on the shelf.
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Pro Series by the numbers
Friendly studio tip for this glaze family
This shelf is four glazes, and two of them do something you can steer.
Jewelry changes with thickness: thin breaks to a transparent green on the edges, thick builds a turquoise blue. Tidal Pool changes with texture: smooth stays blue-green, carved goes warm brown.
The other thing to know is that this line was designed to be dipped, not brushed. That makes an even coat matter more here than on a reactive line where uneven is the whole idea.
Every Pro Series 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.
4 to choose from
How the Pro Series line works
A small shelf, and a different animal from the big brush-on lines beside it.
The Ceramic Shop formulate these for dipping. They thin with water for spraying, and if you brush them they recommend adding a brushing medium first. Ours are set up as brush-on, so the thing to aim for is an even coat rather than the thick-and-thin trick some reactive lines reward.
Coats
Cone 6, which is where our glaze kilns run.
Because the line was built to be dipped, the surface rewards evenness. Where thickness does matter, and on Jewelry it matters a lot, it is called out on that glaze's own page.
Layering
This is a four glaze shelf, so there is no published combination chart to work from.
Two of them do their own layering without help. Jewelry changes color with thickness and Tidal Pool changes color over texture, which gets you variation from a single jar.
Food and safety
Lead and cadmium free, non-toxic, conforming to ASTM D-4236.
The Ceramic Shop tell anyone producing dinnerware to test their own finished work, since clay body and firing both move the result. Their dry powder carries a California warning for silica and lithium carbonate, which matters in a mixing room rather than on a fired pot.
Clays that suit Pro Series
These behave differently from each other on clay, so the short version is on each glaze's own page.
From The Clay Hole University
More info about Pro Series 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 Pro Series test tile pot
This family does not have a test tile pot. The colors and results come out close enough to what the book shows that a pot would not tell you much more, so work from the printed Glaze Bible and the tile above.
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.