Leaf Green
Leaf Green is a matte underglaze from Speedball's Underglaze line, fired cone 05 to cone 6.
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The quick version of Leaf Green
What this underglaze does
A mid grass green.
Clays that suit Leaf Green
On raw clay only, here. A light color over a darker body will need the full three coats, and White is the one to reach for underneath if you want a light color to stay light.
Applying this underglaze to your work
Speedball ask for three liberal coats for full opacity. Fewer reads as a wash, which is a legitimate effect if you meant it.
Speedball ask for three liberal coats for full opacity. Fewer reads as a wash, which is a legitimate effect if you meant it.
Layering
Colors do not move or flow into each other during firing, so you can butt two right up against one another and keep the line. Speedball say they intermix freely if you want to make your own color.
Colors do not move or flow into each other during firing, so you can butt two right up against one another and keep the line. Speedball say they intermix freely if you want to make your own color.
From The Clay Hole University
More info about Leaf Green 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.
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
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
GuideOxide and Carbonate Washes
GuideWhen to Use Celadon Glazes
GuideHow to Use Dipping Glazes
Firing Leaf Green
Speedball rate the underglazes from cone 05 to cone 6 and say they have fired them successfully to cone 10. Our glaze kilns run cone 5½, well inside that.
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.
Common problems with Leaf Green
Why does mine look chalky?
That is bare underglaze. It needs a clear glaze over it to go glossy and deepen. Look at the two halves of the tile on this page.
Why did my color come out patchy?
Coats. Speedball ask for three liberal ones.
Food and function
Speedball rate all colors dinnerware safe when used and fired as directed, lead free, carrying the AP seal. On a functional pot they still need a clear glaze over them for a food surface.
Speedball rate all colors dinnerware safe when used and fired as directed, lead free, carrying the AP seal. On a functional pot they still need a clear glaze over them for a food surface.
Our test tile pots
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.
More ways to pick a underglaze
Membership levels that may use this underglaze: 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.