Gloss White Liner

MBG186

🟩 Green Level

Gloss White Liner is a glossy brush-on glaze from Coyote's Enduro-Color line, fired cone 5 to cone 6.

GlossyOpaqueTexture-friendlyCone 5/6
Available at The Clay HoleYes
Test tile
Fired pot
Enduro-Color family
Find it on the glazes shelves Shelf 2, Row 8Tile #8 on the Enduro-Color pot
Show me where

The quick version of Gloss White Liner

TypeBrush-on glaze
FinishGlossy
OpacityOpaque
Shows textureYes, good on carving
Glaze fire toCone 5/6
Bisque toCone 04

What this glaze does

A super durable glossy white glaze, perfect for porcelain. Gentle enough to let underglaze show through, but hard enough to repel acids and dishwashers.

This line was built for durability rather than for looks. Coyote list it as resisting fork and knife marking, dishwashers, tomato stains, acid, chipping, crazing, scratching and staining.

Clays that suit Gloss White Liner

Liner glazes live or die on fit, and Coyote built this line around that.

Liner glazes live or die on fit, and Coyote built this line around that.

PorcelainCoyote call the Gloss White Liner perfect for porcelain, so #16 Porcelain is the obvious pairing.
Any bodyB-Mix, Half & Half, 52 Buff, Speckled Buff and Berlin Gray will all carry these.
Where to use themThe inside of bowls, mugs and plates, where a glaze takes the most abuse.
Worth knowingCoyote say crystals can form in the liquid glaze if it is stored below 65F.

Applying this glaze to your work

An even coat, the same as any liner glaze. There is no reactive movement here to hide a thin patch.

Two of the three are white liners, meant for the inside of a piece where the outside carries the color.

Across the Enduro-Color line

An even coat, the same as any liner glaze. There is no reactive movement here to hide a thin patch.

Two of the three are white liners, meant for the inside of a piece where the outside carries the color.

Layering

The white liners are designed for the inside of a piece while something else carries the outside. Coyote note the Gloss White Liner is gentle enough to let underglaze show through.

Before you commit a pot

The white liners are designed for the inside of a piece while something else carries the outside. Coyote note the Gloss White Liner is gentle enough to let underglaze show through.

Firing Gloss White Liner

Coyote fire these between witness cone 5 and witness cone 6, which is where our glaze kilns run.

If you are a member here

None of this is yours to manage. We handle everything on the kiln side, and every glaze on our shelves can be fired safely in our studio.

Food and function

This is the line Coyote built for functional ware. They list it as standing up to fork and knife marking, dishwashers and tomato stains, and resisting acid, chipping, crazing, scratching and staining.

They still ask that you test your own finished ware, and that holds here too.

Across the Enduro-Color line

This is the line Coyote built for functional ware. They list it as standing up to fork and knife marking, dishwashers and tomato stains, and resisting acid, chipping, crazing, scratching and staining.

They still ask that you test your own finished ware, and that holds here too.

Test tile pots lined up on the glaze shelves at The Clay Hole

Our test tile pots

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.

  1. 1Find the pot The brand and family name are written on the rim. This glaze lives on the Coyote Enduro-Color pot.
  2. 2Find the tile This one is tile #8. The numbers match the ones in the Glaze Bible.
  3. 3Read it properly Look at what the glaze does across all four textures, not just what color it is.

What to look at on the tile

Broad vertical textureA broad open surface. Shows the color at full strength, and whether the glaze travels down it.
Shallow textureA shallow swirl stamp. Shows whether light carving still reads once the glaze is on, or fills in and vanishes.
Deep textureCut lines. A deeply rough texture stripe. Shows where the glaze pools, how it breaks, and how dark it goes in the recesses.
Wipe-away textureGlaze wiped back to bare clay. Shows what the edge does where the coat runs thin. Find this wiped away on the tile's number.
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 the Coyote Enduro-Color Family

Three glazes built for the inside of a mug rather than the outside.

Coyote designed the Enduro-Colors for durability, and list them as resisting fork and knife marking, dishwashers, tomato stains, acid, chipping, crazing, scratching and staining.

Three glazes, fired between witness cone 5 and witness cone 6. Two are white liners and one is a color. This is the line to reach for when a piece is going to be used hard and washed often.

Enduro-Color family

Membership levels that may use this glaze: Green, Yellow, Purple & Black

Not sure whether this glaze suits what you are making, or how it works with our system here? Ask an instructor. That is what we are here for, and a two minute conversation at the shelf beats a fired pot you did not want.

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.

Download the Glaze Bible PDF