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how to
add color
to your ceramic art

a guide to using ceramic colorants,

ceramic stains, and ceramic oxides

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How to Add Color to Your Ceramic Art
A Guide to Using Ceramic Colorants, Ceramic Stains and
Ceramic Oxides
Adding color to your ceramic art can be a tricky proposition. Unlike working with paints, what you put on your prize pot or
sculpture can look very different after firing compared to what they look like before firing. As a general rule, ceramic stains
and ceramic pigments look pretty much the same before and after firing while ceramic oxides like iron oxide, cobalt oxide,
and copper oxide as well as cobalt carbonate and copper carbonate all look very different. In this guide you’ll discover a
little help to better understand what, how, and why ceramic colorants work in a glaze. Enjoy!

The World of Ceramic Colorants

by Robin Hopper
The potter’s palette can be just as broad as the painter’s because there are so many
ceramic colorants and combinations to choose from. By combining ceramic oxides,
ceramic stains, and ceramic pigments in various proportions, you can get virtually
every color in the spectrum.

The Many Faces of Iron Oxide

by Dr. Carol Marians
Glaze ingredients, the clay body, firing atmosphere, and even kiln-stacking techniques
can all affect your firing results. Red iron oxide is one of the ceramic colorants that’s
quite temperamental and affected by a lot of variables. From dark brown to unusual
speckles, red iron oxide can offer a lot for a single ceramic colorant.

Discovering New Glaze Colors

with Ceramic Stains
By John Britt
Commercially prepared ceramic pigments, commonly referred to as ceramic stains,
expand the potter’s palette with infinite color options. Ceramic pigments are easy to
use and the simplest way to introduce a wide range of color into your work.

How Lana Wilson Uses Ceramic Pigments

by Annie Chrietzberg
Lana Wilson’s work is mostly black and white with bits of vibrant color splashed
about. She gets her color from ceramic pigments mixed with a clay slip which she
makes from a commercial clay body. She explains how to mix the slip, how much
ceramic pigment to add for each color, and how to use the glaze on a finished piece.

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The World of
COLORANT CONE ATMOS. % COMMENTS
Dark Red

Ceramic Colorants
Copper Vary Red. 0.5%-5% Best in glazes containing less than 10% clay content,
and a high alkaline content. Needs good reduction.
In low temperatures it can be reduced during cool-
ing. Good reds as low as cone 018.

by Robin Hopper Iron Vary Both 5%-10% Good in many glaze bases at all temperatures. Can
be improved with the addition of 2%-5% tin oxide.
Nickel 4-10 Ox. 5%-8% Use in barium-saturated glazes.
Burgundy

Red to Orange Iron See Dark Red, Iron.

Copper See Dark Red, Copper. Owing to the unstable nature of copper, this colorant
The potter’s palette can be just as broad as the painter’s. can produce a wide range of results. Very controlled
Different techniques can be closely equated to working in reduction firing and cooling are important.

any of the two-dimensional media, such as pencil, pen and Maroon

ink, pastel, watercolor, oils, encaustics or acrylics. We also Chrome-Tin Stains Vary Ox. 1%-5% Use in glazes with calcium. There should be no zinc
in the glaze.
have an advantage in that the fired clay object is permanent,
Copper Vary Red. 0.5%-5% Best in high alkaline glazes.
unless disposed of with a blunt instrument! Our works may
Crimson
live for thousands of years—a sobering thought.
Copper + Titanium 8-10 Red. 1%-5% Try various blends of copper (1%-5%) and titanium
Because a number of colors can only be achieved at low (2%-5%).
temperatures, you need a series of layering techniques in Calcium-Selenium Stains 010-05 Ox. 0.5-5% Best with special frits.
order to have the fired strength of stoneware or porcelain Indian Red
and the full palette range of the painter. To accomplish this, Iron Vary Both 5%-10% Best in high calcium glazes; small amount of bone
ash helps. Tin addition up to 5% also helps. Also
low-temperature glazes or overglazes are made to adhere works well in ash glazes.
to a higher-fired glazed surface, and can be superimposed Brick Red
over already existing decoration. To gain the full measure Iron Vary Both 5%-10% Similar to Indian Red. Tin to 2% helps.
of color, one has to fire progressively down the temperature Orange-Brown
range so as not to burn out heat-sensitive colors that can’t Iron + Rutile Vary Both 1%-10% Various mixtures (up to 8% iron and 2% rutile) in
be achieved any other way. Usually the lowest and last firing most glaze bases.
is for precious metals: platinum, palladium, and gold. Iron + Tin Vary Both 1%-5% Various mixtures (up to 4% iron and 1% tin) in most
glaze bases. Creamier than iron with rutile.
For the hot side of the spectrum—red, orange, and yel-
Orange-Red
low—there are many commercial body and glaze stains, in
Cadmium- 012-05 Ox. 1%-4% Best with special frits such as Ferro 3548 or 3278 or
addition to the usual mineral colorants. Ceramists look- Selenium Stains both. Helps to opacify with zirconium.
ing for difficult-to-achieve colors might want to consider Orange
prepared stains, particularly in the yellow, violet, and purple Iron Vary Both 1%-5% Use in tin or titanium opacified glazes.
ranges. These colors are often quite a problem with stan- Rutile Vary Both 5%-15% Many glaze types, particularly alkaline. More suc-
dard minerals, be they in the form of oxides, carbonates, cessful in oxidation.

nitrates, sulfates, chlorides or even the basic metal itself. Copper 8-10 Both 1%-3% Use in high alumina or magnesia glazes. Addition of
up to 5% rutile sometimes helps.
Minerals that give reds, oranges, and yellows are cop-
Orange-Yellow
per, iron, nickel, chromium, uranium, cadmium-selenium,
Iron Vary Both 2%-5% With tin or titanium opacified glazes.
rutile, antimony, vanadium, and praseodymium. Varia-
Rutile Vary Ox. 1%-10% Best with alkaline glazes.
tions in glaze makeup, temperature and atmosphere
Yellow Ocher
profoundly affect this particular color range. The only
Iron Vary Both 1%-10% Use in high barium, strontium or zinc glazes.
materials which produce red at high temperatures are cop-
Iron + Tin Vary Ox. 1%-5% Various mixtures (up to 3.5% iron and 1.5% tin) in
per, iron, and nickel. The results with nickel are usually many glaze bases.
muted. Reds in the scarlet to vermilion range can only be Iron + Rutile Vary Both 1%-5% Various mixtures (up to 2.5% iron and 2.5% rutile)
in many glaze bases.
achieved at low temperatures.
Vanadium- Vary Ox. 5%-10%Various mixtures in many Zirconium stain
The chart should help pinpoint mineral choices for Zirconian Stains glaze bases.
desired colors (note that the color bars are for guidance Lemon Yellow
only and not representative of the actual colors—Ed.). Praseodymium Stains Vary Both 1%-10% Good in most glazes. Best in oxidation.
Colors are listed with the minerals needed to obtain them, Pale/Cream Yellow
approximate temperatures, atmosphere, saturation per- Iron + Tin Vary Both 2%-5% Various mixtures (up to 3.5% iron and 1.5% tin)
centage needed, and comments on enhancing/inhibiting in high barium, strontium or zinc glazes. Titanium
opacification helps.
factors. Because of the widely variable nature of ceramic
Vanadium Vary Both 2%-5% Use in tin-opacified glazes.
color, there are many generalities here. Where the word
Rutile + Tin Vary Ox. 2%-5% Various mixtures (up to 2.5% iron and 2% tin) in
“vary” occurs in the column under Cone, it signifies that variety of glaze bases. Titanium opacification helps.
the intended results could be expected most of the time at Note: Colors bars are for visual reference only,
various points up to cone 10. and do not represent actual colors.

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2010, Ceramic Publications Company | How to Add Color to Your
Yellow-Green to Navy Blue
The cool side of the glaze spectrum (from yellow- The colorants known for creating cool hues
green to navy blue) is considerably easier, both are copper, chromium, nickel, cobalt, iron,
to produce and work with, than the warm. In the and sometimes molybdenum. For variations,
main, colorants that control this range create far some are modified by titanium, rutile, manga-
fewer problems than almost any of the red, orange, nese or black stains. The usual three variables
and yellow range. Some are temperature and atmo- of glaze makeup, temperature, and atmosphere
sphere sensitive, but that’s nothing compared to the still control the outcome, though it is less obvi-
idiosyncrasies possible with warm colors. ous in this range.

COLORANT CONE ATMOS. % COMMENTS COLORANT CONE ATMOS. % COMMENTS

Yellow Green Turquoise
Copper + Rutile Vary Both 2%-10% Various mixtures in a wide variety of glazes, particu- Copper Vary Ox. 1%-10% In high alkaline and barium glazes. Bluish with
larly those high in alkaline materials. Almost any yel- no clay content; tends toward greenish tint with
low glaze to which copper is added will produce yellow added clay.
green.
Copper + Rutile Vary Both 1%-5% In high alkaline and barium glazes.
Chromium Vary Both 0.5%-3% In yellow glazes without tin or zinc.
Copper + Tin Vary Ox. 1%-10% In high alkaline and barium glazes; usually opaque.
Chromium 4-8 Ox. 0.25%-1% In saturated barium glazes.
Light Blue
Chromium 018-015 Ox. 0-2% In high alkaline glazes with no tin.
Nickel Vary Ox. 1%-2% In high zinc or barium glazes.
Cobalt Vary Both 0-1% In any yellow glazes.
Rutile Vary Red. 1%-5% In a wide range of glazes; best with low (10% or
Light Green less) clay content.
Copper Vary Ox. 0-2.5% In various glazes except those high in barium or mag- Cobalt Vary Both 0.25%-1% Use in most glazes, particularly those opacified with
nesium. Best in glazes opacified with tin or titanium. tin. Also use mixed with small amounts of iron.
Cobalt Vary Both 0-2% In glazes opacified with titanium, or containing rutile. Celadon Blue
Apple Green Iron 6-10 Red. 0.25%-1% In high alkaline or calcium clear glazes. Black iron is
generally preferable to red iron.
Chromium Vary Both 0-2% In various glazes without zinc or tin. Good in al-
kaline glazes with zirconium opacifiers. Also use Wedgewood Blue
potassium dichromate.
Cobalt + Iron Vary Both 0.5%-2% In most glazes; small amounts of cobalt with iron,
Copper 1%-2% See Light Green; use in non-opacified glazes. manganese or nickel yield soft blues. Added tin gives
pastel blue.
Celadon Green
Cobalt + Manganese Vary Both 0.5%-2%
Iron Vary Red 0.5%-2% Best with high sodium, calcium or potassium glazes.
Do not use with zinc glazes. Cobalt + Nickel Vary Both 0.5%-2%
Copper Vary Ox. 0.5%-2% Good in a wide range of glazes. Cobalt 4-10 Both 0.5%-3% In high zinc glazes.
Grass Green Nickel 4-10 Ox. 1%-3% In high barium/zinc glazes; likely to be crystalline.
Copper 010-2 Ox. 1%-5% In high lead glazes; sometimes with boron. Blue Gray
Chromium 018-04 Ox. 1%-2% In high alkaline glazes. Nickel Vary Ox. 0.5%-5% In high barium/zinc glazes.
Olive Green Rutile Vary Red. 2%-5% In a wide variety of glazes, particularly high alumina
or magnesia recipes.
Nickel Vary Both 1%-5% In high magnesia glazes; matt to shiny olive green.
Cobalt + Manganese Vary Both 0.5%-2% In most opaque glazes.
Iron Vary Red. 3%-5% In high calcium and alkalines, usually clear glazes.
Cobalt Vary Ox. 0.5%-5% In high zinc glazes.
Hooker’s Green
Ultramarine
Copper + Cobalt Vary Ox. 2%-5% In a wide variety of glaze bases.
Cobalt Vary Both 0.5%-5% In high barium, colemanite, and calcium glazes; no
Cobalt + Vary Both 2%-5% In a wide variety of glaze Chromium bases: no zinc or
zinc, magnesium or opacification.
tin. Good opacified with zirconium or titanium.
Cerulean Blue
Chrome Green
Cobalt Vary Both 0.5%-5% In glazes containing cryolite of fluorspar.
Chromium 06-12 Both 2%-5% In most glazes; no zinc or tin.
Cobalt + Chromium Vary Both 2%-5% In most glazes except those containing zinc or tin.
Dark Green
Prussian Blue
Copper Vary Ox. 5%-10% Many glaze bases, particularly high barium,
strontium, zinc or alkaline with a minimum of Nickel 6-10 Ox. 5%-10% In high barium/zinc glazes.
10% kaolin.
Cobalt + Manganese Vary Both 5%-10% In most glaze bases.
Cobalt + Chromium Vary Both 5%-10% Blends of these colorants will give a wide range of
dark greens. Cobalt + Manganese Vary Both 5%-10% In most glazes; for example, cobalt 2%, chromium
2% and manganese 2%.
Cobalt + Rutile Vary Both 5%-10% Dark greens with blue overtones.
Navy Blue
Teal Blue
Cobalt Vary Both 5%-10% In most glazes except those high in zinc, barium or
Cobalt + Rutile Vary Both 1%-5% In a wide variety of glazes. magnesium.
Cobalt + Chromium Vary Both 1%-5% In most glazes without tin or zinc.
Note: Colors bars are for visual reference only,
and do not represent actual colors.

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2010, Ceramic Publications Company | How to Add Color to Your
Indigo to Purple COLORANT
Indigo
CONE ATMOS. % COMMENTS

The indigo-to-purple part of the color wheel is small Nickel Vary Ox. 8%-15% Use in high barium/zinc glazes. Also likely to crystal-
but significant. The colorants that produce this range lize.

are nickel, cobalt, manganese, umber, iron, chro- Cobalt + Manganese Vary Both 5%-10% Various mixtures in most glazes.

mium, rutile ilmenite, copper, iron chromate, and Cobalt + Black Stain Vary Both 5%-8% Various mixtures in most glazes.

black stains. In short, one could say that the colo- Violet

rants needed include just about the whole group that Cobalt Vary Both 5%-10% In high magnesium glazes.

are used for all the other colors in the spectrum. The Nickel Vary Ox. 1%-10% In some saturated-barium glazes.

only ones I haven’t talked about previously in this Manganese Vary Both 5%-10% In high alkaline glazes.

articles series are umber, ilmenite, iron chromate, Copper Vary Ox. 8%-10% In some saturated-barium glazes.

and black stains. Purple

Black Stains Formulated from a variable mixture of Copper 6-10 Both 8%-10% In high barium and barium/zinc glazes.

other colorants, black stains are usually rather expen- Copper 8-10 Red. 1%-5% In copper red glazes opacified with titanium.

sive due to their being saturations of colorant materials. Nickel Vary Ox. 5%-10% In some high barium glazes.

Various companies produce black stains usually from Cobalt Vary Both 5%-10% In high magnesium glazes.

a combination of iron, cobalt, chromium, manganese, Manganese 04-10 Ox. 5%-10% In high alkaline and barium glazes.

iron chromate and sometimes nickel mixed with fillers Iron 8-10 Red. 8%-10% In high calcium glazes; likely to crystallize.

and fluxes such as clay, feldspar and silica. I use the Copper + Cobalt Vary Red. 2%-8% Various mixtures in many glazes.

following recipe: Chrome + Tin + Cobalt Vary Ox. 2%-8% Various mixtures in many glazes.
Mauve or Lilac
Black Stain Cobalt Vary Both 1%-5% In high magnesium glazes.
Chromium Oxide . . . . . . . . . . . . . . . . 20 %. %
Nickel Vary Ox. 1%-5% In some saturated-barium glazes.
Cobalt Carbonate or Oxide . . . . . . . . 20 %.
Pink
Manganese Dioxide . . . . . . . . . . . . . . 20 %.
Red Iron Oxide . . . . . . . . . . . . . . . . . . 20 %. Cobalt Vary Ox. 1%-3% In high magnesium glazes opacified with tin. Also in
very low alumina content glazes.
Feldspar (any) . . . . . . . . . . . . . . . . . . . 8
Kaolin (any) . . . . . . . . . . . . . . . . . . . . 8 Copper Vary Red. 0.2%-2% In copper red glazes with titanium.

Silica . . . . . . . . . . . . . . . . . . . . . . . . . 4 Copper 6-10 Ox. 0.2%-3% In high magnesium or high alumina glazes.
10 %.0 %. % Copper 8-10 Red. 5%-10% In copper red glazes opacified w/min. 5% titanium.
Chromium Vary Ox. 1%-2% In calcium glazes opacified with 5%-10% tin.
This mixture is best ball-milled for a minimum of Iron Vary Ox. 1%-5% In calcium glazes opacified with tin.
four hours to limit its tendency toward cobalt speck- Rutile Vary Both 5%-10% In high calcium and some ash glazes.
ing, and to make sure that the colorants are thoroughly Nickel 018-010 Ox. 1%-3% In high barium glazes with some zinc.
mixed. Because any black stain is a very concentrated Manganese Vary Both 1%-5% In alkaline glazes opacified with tin or titanium. Also
mixture, only small amounts are normally needed to in high alumina glazes.
cause a strong effect. In a clear glaze, a maximum of Brown
5% should produce an intense black. In opaque glazes, Iron Vary Both 3%-10% In most glazes.
more stain than that may be needed. Black stains and Manganese Vary Both 2%-10% In most glazes.
white opacifiers mixed together will produce a range of Nickel Vary Both 2%-5% In high boron, calcium, and lead glazes.
opaque grays. Stains, like other ceramic materials, are Chromium Vary Both 2%-5% In high zinc glazes.
subject to the three variables of glaze makeup, tempera- Umber Vary Both 2%-10% In most glazes.
ture and atmosphere. Ilmenite Vary Both 2%-10% In most glazes. High calcium may yield bluish tint.
Outside the color wheel one finds tones of brown, gray, Rutile Vary Both 5%-10% In most glazes; golden brown.
and black. These moderate other colors. A color wheel Gray
could, I suppose, include the range of opacifiers since they Iron Vary Red. 2%-4% In many glaze bases; gray brown.
also have a strong role in affecting color. The toning influ- Iron Chromate Vary Both 2%-5% In most glaze bases without zinc or tin.
ence of brown, gray, and black is just as much opacifying Nickel Vary Both 2%-5% In most glaze bases; gray brown.
in result as are the white opacifiers such as tin, titanium, Copper 8-10 Both 3%-10% In high magnesium glazes. Warm gray in reduction;
cold gray in oxidation.
and zirconium compounds such as Zircopax, Opax,
Cobalt + Nickel Vary Both 1%-5% Blue gray in most glazes.
Superpax, and Ultrox. Slight additional increments of any
Cobalt + Manganese Vary Both 1%-5% Blue gray to purple gray in most glazes.
of these colors will render most glazes, colored or not,
Black Stain Vary Both 1%-5% Shades of gray in most opacified glazes.
progressively darker as they are added.
Black
Excerpted from The Ceramic Spectrum: A Simplified Approach Iron Vary Both 8%-12% In high calcium glazes—the temmoku range.
to Glaze and Color Development, published by The American Copper Vary Both 8%-10% In a wide range of glazes.
Ceramic Society.
Cobalt Vary Both 8%-10% Blue black in most glazes except those high in zinc
Note: Colors bars are for visual reference only, and magnesium.
and do not represent actual colors. Black Stain Vary Both 3%-10% In most zinc-free, non-opacified glazes.

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2010, Ceramic Publications Company | How to Add Color to Your
 The Many Faces
of Iron Oxide: by Dr. Carol Marians

O recipe
ne of the more fasci- How does this happen?
nating, but sometimes
frustrating parts of ce- At the top of the firing cycle, the
ramics is learning to glaze is matured, but not watery;
The glaze used in these tests is a minor
balance the innumerable factors it doesn’t flow off the pot. At this modification of the glaze GA16, from Mi-
that affect the outcome of a firing. point, the glaze is not a homog- chael Bailey’s Cone 6 Glazes, poured thick on
Glaze ingredients, the clay body enous melt, but a mixture of several Georgies Ceramic Supply’s G Mix 6 clay body .
used, firing cycles, atmospheres, melts. It is not fully blended. It may
kiln-stacking techniques, and ge- contain a dissolved second phase—
ography (to name a few variables) in our case an iron compound—
GA16 Variation
can all affect firing results. analogous to sugar dissolved in hot (Cone 6)
This may be frustrating if you tea. More sugar dissolves in hot Bone Ash . . . . . . . . . . . . . . . . . . . . 4 .6 %
don’t control those variables, but tea; less as the tea cools. The sugar Dolomite . . . . . . . . . . . . . . . . . . . . 13 .6
if you do, there is opportunity for precipitates as crystals as the tea Lithium Carbonate . . . . . . . . . . . . . 4 .6
Red Iron Oxide . . . . . . . . . . . . . . . . 9 .1
new discoveries. By changing just cools. Our glaze, when melted, has
Unispar . . . . . . . . . . . . . . . . . . . . . 22 .7
one variable, the same glaze recipe a dissolved iron compound—the Bentonite . . . . . . . . . . . . . . . . . . . . 1 .8
can be deliberately manipulated to “sugar” in the tea. The iron pre- OM4 Ball Clay . . . . . . . . . . . . . . . . 20 %. .9
yield different results. In this in- cipitates as the glaze cools. So how Silica . . . . . . . . . . . . . . . . . . . . . . 22 .7
stance, I decided to investigate one does the iron form in the glaze? 10 %.0 %. .0 %. %
variable in an iron-rich glaze: the Glaze is more complex and
cooling period. more viscous than tea, inhibiting
Empirical Formula
I achieved greatly differing results motion. The iron crystals cannot CaO . . . . . . . . . . . . . . . . . . . . . . 0 %. .4126
in a single glaze with a single clay precipitate and sink to the bottom K2O . . . . . . . . . . . . . . . . . . . . . . 0 %. .0 %.454
body, consistent glaze thickness and of the glaze, nor can they grow Li2O . . . . . . . . . . . . . . . . . . . . . . 0 %. .20 %.13
application, and the same heating very large, as the iron ions do not MgO . . . . . . . . . . . . . . . . . . . . . 0 %. .2521
Na2O . . . . . . . . . . . . . . . . . . . . . 0 %. .0 %.886
schedule for all of the firings. The congregate in the same location.
Al2O3 . . . . . . . . . . . . . . . . . . . . 0 %. .3424
differences in the resulting appear- Instead, as the glaze cools, the dis- SiO2 . . . . . . . . . . . . . . . . . . . . . . 2 .7566
ance of the glaze on the pots came solved iron separates out, forming P2O5 . . . . . . . . . . . . . . . . . . . . . 0 %. .0 %.480 %.
exclusively from their heat treat- numerous small crystals suspended Fe2O3 . . . . . . . . . . . . . . . . . . . . 0 %. .1912
ment after they reached maturity. in the glaze. The number of par- TiO2 . . . . . . . . . . . . . . . . . . . . . . 0 %. .0 %.10 %.4
When the witness cone bends, ticles, and their eventual size, is af-
the glaze should be fully vitrified. fected by the surface texture of the
The kiln has reached temperature, underlying clay body, the cooling
but has not yet begun to cool. I speed of the melt, the thickness of
studied what happens between that the glaze application, and several
point and the return of the kiln’s other factors. The competition
temperature to room temperature. between the number and size of
I found that I could get a glossy particles as the glaze cools results
black surface, a densely textured in the variety of desirable effects
rough surface, a golden red/mud (see accompanying figures).
color, or anything in between, just As it cools, the glaze becomes
from different cooling schedules. progressively more viscous and less

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2010, Ceramic Publications Company | How to Add Color to Your
 Cool down: An uncontrolled drop from 2200°F to 1750°F,
then –50° per hour from 1750°F to 1500°F.

Results: The cooling was slower from 2200°F down to

1450°F. Because the solubility of iron in glaze decreases
at lower temperatures, I cooled at Z\c the speed between
1750°F and 1500°F. The result was a substantially
textured surface, with much visible variation, and
crystals of a variety of colors breaking the surface.
The glossy black was gone, and the surface variation
uniformly distributed. There were a relatively small
number of largish particles. The color was intermixed
red, bronze and mud brown. Bronze predominated
where the glaze was thickest. I interpreted this as
substantial particle growth below 1750°F, with little
precipitation of new particles.

test 1
Cool down: A continuous cool from Cone 6 to 1500°F
at –150° per hour.

Results: This is the cool-down profile from

Hesselberth and Roy. It gave a predominantly glossy
black glaze, not greatly different from the quick
cool, but with a hint of variegated color. I could

test 2
see isolated metallic bronze and red flecks, but no
crystals breaking the surface.

mobile, until it reaches a tempera- aesthetically pleasing, clear, glossy, lems. We want the crystals near
ture at which it “freezes” and noth- black glaze, somewhat akin to a the surface but not on it, large
ing can move or precipitate within temmoku (see test 1). The opacity enough to create surface and color
it. If the glaze is held at a tempera- and depth of the glossy black show effects, but not be overwhelming.
ture high enough to permit contin- that the glaze can dissolve quite a A series of cool-down profiles
ued mobility of the iron into pro- lot of iron. with lots of jigs and jags show-
gressively larger crystals, but low As the glaze cools and becomes cases a different phase, exposing
enough that the glaze doesn’t run more viscous, crystals begin to a range of surface effects. This
off the pot, the surface will become form at edges and imperfections translates into profiles with one
matt. The multitude of tiny iron in the body. If the glaze layer is or more narrow temperature
particles disrupt light transmission. thin, different kinds and shapes of ranges with extreme slow cooling
Otherwise, the glaze solidifies with crystal will form. If the crystals are and/or long holds, and possibly
the same smooth, glossy surface stuck to the clay body at the bot- no retarded cooling outside the
as it had while fully melted. If the tom of a thick opaque glaze layer, selected ranges. Since extended
glaze is cooled quickly, few visible, they will be largely invisible. Crys- firing cycles can be costly, I
very small particles form. Most of tals that float on top of the glaze framed my experiments with a
the visible color is the reflection off give the appearance of sandpaper, maximum extension to the firing
the smooth surface. This gives an which can present utilitarian prob- cycle of four hours.

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2010, Ceramic Publications Company | How to Add Color to Your
 Cool down: An uncontrolled drop to 1750°F, then –50° per hour to 1600°F,
a hold at 1600°F for one hour, then –50° per hour to 1500°F.

Results: By adding a one-hour hold at 1600°F, the color shifted from gold/
brown to red/gold. The red and brown regions followed the throwing lines,
indicating that glaze thickness has significant influence. The strength of
this effect showed there is a critical region for this glaze’s development
somewhere near the temperature 1600°F.

test 3

Cool down: An uncontrolled drop to 1750°F, hold at 1750°F for half an hour, then
–50° per hour to 1650°F, hold at 1650°F for one hour, then –50° per hour to 1500°F.

Results: Adding a half-hour hold at 1750°F and a one-hour hold at 1650°F gave
smaller particles and a near-smooth, lustrous satin, variegated bronze glaze with
small specks of red and brown. The original glossy black was completely gone.
Color variation in the throwing line showed the considerable effect that glaze
thickness has. The half-hour hold at 1750°F facilitated the formation of a large
5number of small particles, leaving little free iron to add to crystal growth later.
This uniform result was much like a pointillist painting, with exceedingly fine
points. Moving the hold from 1600°F up to 1650°F could have a similar effect.
Alternatively, we could see this change as a result of the glaze spending more

test 4 time in the critical temperature interval for crystal development.

Cool down: An uncontrolled drop to 1800°F, then –50° per hour to 1450°F.

Results: As the previous test result could have come from extended time
in the crystal growing range, or specifically from the hold at 1650°F and
1750°F, I gave this firing just as much time in the sensitive zone, but uniform
decrease in temperature over the extended region. The results were similar
to the previous test, but with larger grain size and a lizard-skin feel to the
texture. The glaze was mottled and less uniform. The smooth satin look was
gone. I concluded one of the holds in the previous test hit the “sweet spot,”
at which point many small particles form. I did not know at which level.

test 5

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 Cool down: From Cone 6 to 2100°F at –50° per hour,
then uncontrolled cooling to 1700°F, then –25° per
hour to 1600°F.

Results: To test a second slow-cooling region, the

kiln was cooled quickly from the top temperature
to 1700°F, then slowly to 1600°F. The result was an
intensely variegated effect with relatively few but
larger particles in red and brown. The throwing lines
were not prominent, so glaze thickness was not as
important. The texture is lizard-skin satin, not the
gloss of tests 1 and 5, nor the smooth satin of test 4.
This result was related, but not quite like anything
previous. This could be a jumping off point for a new
series of tests.

test 6
Cool down: An uncontrolled drop to 2000°F, then
–50° per hour to 1650°F.

Results: The slow cool from 2000°F to 1650°F gave a

surface and color as in test 1, with a much greater
number of gold particles. This also shows that the
effects of test 4 depended on the 1650°F hold. This

test 7
critical test showed that the greater color effect I
wanted needed two holds.

I started out with the firing firing. I chose 1450°F as a low were caused by the cooling-down
profile in Hesselberth and Roy’s end for controlled cooling, select- profiles and not extraneous ef-
Mastering Cone 6 Glazes. The ing intervals for markedly slow fects. I next will explore whether
ramp for reaching temperature was cooling in the temperature range maximal particle size growth takes
a fast rise (200°F in the first hour, 2200°–1450°F. place “hotter” than the tempera-
then 500°F per hour to 2100°F) ture at which the greatest number
until the last three hours, which Speculation of particles is formed. Cooling to
had a rise of approximately 30°F With this limited series of tests, approximately 1600°F, then re-
per hour. Orton cones showed a I produced a variety of textures heating to around 1800°F should
hard Cone 6. These firings were and colors, by “poking” the cool- obtain both good numbers and
done in a very old Skutt 1227 with down profile. Each firing included development of microcrystals.
a computer controller. I examined several identically glazed test
the author Dr. Carol Marians holds a Ph.D.
the results of my firings and based pieces distributed throughout the in materials science from the Massachussetts
my next firings on those results, kiln. I obtained an encouraging Institute of Technology, and makes pots at
only changing one factor with each indication that the different results Basic Fire studio in Portland, Oregon.

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 Discovering New Colors
A triaxial blend is a method of testing three ingredients on a three-axis
system similar to a two-ingredient line blend.
Often triaxial blends are used to test the primary ingredients in a
A
glaze base, (for example, feldspar, whiting, and kaolin). It is often 1
employed when you don’t have a percent analysis to reference. If
you have a percent analysis, you can use a glaze software program to
predict glaze surfaces, but if you don’t, a triaxial blend is the empirical
A 100
method to see how they melt. B 0
Another use of the triaxial system is color blending. In this C 0
method, you keep the base glaze the same and vary the colorants
(oxides or stains or even opacifiers). In this triaxial color blend, I
tested various stains to develop different colors. Since we do not 2 3
know the exact amounts of oxides in commercial stains, blending
them in a triaxial can reveal surprising and unusual colors.
A 21-point triaxial is a systematic blending of three variables A 80 A 80
with 100% of each variable at the three corners. So in this B 20 B 0
case, Mason Deep Crimson #6006 is corner A at 100%, C 0 C 20
Mason Sky Blue #6363 is corner B at 100% and Mason
Praseodymium Yellow #6433 is corner C at 100%. The flow 4 5 6
along the vertices is then 80/20, 60/40, 40/60, 20/80. Instead
of using the numbers directly from the triaxial chart, I used 4
grams of stain at each corner. So 100% = 4 grams and then
I figured out that 80% of 4 grams was 3.4 grams, 60% was A 60 A 60 A 60
B 40 B 20 B 0
2.4 grams, and 20% was 0.8 grams. Then I substituted C 0 C 20 C 40
those numbers into the triaxial mixtures. For the tri-
axial glaze chart shown at the right, I used the 5 × 20
Base Glaze as shown below. 7 8 9 10
For additional testing you can also add metallic
oxides to stains to change the colors or add visual tex-
tures; add 3% Zircopax to brighten a color; add 3% A 40 A 40 A 40 A 40
titanium dioxide to make colors slightly more varie- B 60 B 40 B 20 B 0
gated; add 1% copper carbonate to any stain to push C 0 C 20 C 40 C 60
it toward green. The list can go on and on.
11 12 13 14 15
5 X 20 Base Glaze
Cone 6
Wollastonite. . . . . . . . . . . . . . . . . . . . 20 % A 20 A 20 A 20 A 20 A 20
Custer Feldspar . . . . . . . . . . . . . . . . . 20 B 80 B 60 B 40 B 20 B 0
Ferro Frit 3134. . . . . . . . . . . . . . . . . . 20 C 0 C 20 C 40 C 60 C 80
EPK Kaolin. . . . . . . . . . . . . . . . . . . . . 20
Silica . . . . . . . . . . . . . . . . . . . . . . . . . 20
100 % 16 17 18 19 20 21
21-Point Triaxial Blend Grid: Hansen 5
× 20 Clear Glaze mixed with A–Mason A 0 A 0 A 0 A 0 A 0 A 0
stain Deep Crimson 6006 (Cr, Sn), B– B 100 B 80 B 60 B 40 B 20 B 0
Mason stain Sky Blue 6363 (Co, Al, Si), C 0 C 20 C 40 C 60 C 80 C 100
and C–Mason stain Praseodymium Yel-
low 6433 (Pr, Zr, Si,) dipped on porce-
lain, fired to cone 6 in an electric kiln. B C
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 How Lana Wilson Uses
Ceramic Pigments
by Annie Chrietzberg

L
ana Wilson’s work is mostly
black and white with bits of
vibrant color splashed about.
She says, “I have a background
in painting, and this technique really ap-
peals to the painter in me.” She gleaned
this current surface treatment from two
artists, Denise Smith of Ann Arbor,
Michigan, and Claudia Reese, a potter
1 2
from Texas.

Simple Slip
To prepare the slip, Wilson takes 100
grams of small pieces of bone dry clay
and adds 10–50 grams of a stain. The per-
centages of stains varies according to the
intensity of color she is trying to achieve.
The clay Wilson uses is Half & Half 3 4
from Laguna, formulated for firing at
cone 5, though she fires it to cone 6. This Base Coat or Wash Colors
660 %.0 %. Best Black . . . . . . . . . . . . . . . . . 10 %. %
clay body is half porcelain and half white 6339 Royal Blue . . . . . . . . . . . . . . . 5–10 %. %
stoneware. It’s not as white as porcelain, 60 %.69 Dark Coral . . . . . . . . . . . . . . . . 35 %
but it does fire white rather than yellow
in oxidation, isn’t as finicky as porcelain, Accent Slips
6129 Golden Ambrosia . . . . . . . . . . . 30 %. %
and works well with Wilson’s making
6485 Titanium Yellow . . . . . . . . . . . . 20 %. %
methods. If you’re buying clay from the 60 %.24 Orange . . . . . . . . . . . . . . . . . . . 30 %. %
East Coast, she suggests a clay body called 6236 Chartreuse . . . . . . . . . . . . . . . . 50 %. %
Little Loafers from Highwater Clays. 60 %.27 Tangerine . . . . . . . . . . . . . . . . . 15 %
6211 Pea Green . . . . . . . . . . . . . . . . . 50 %. %
Easy Application 6288 Turquoise . . . . . . . . . . . . . . . . . 50 %. %
The technique is simple. On a piece of Recipes 6242 Bermuda . . . . . . . . . . . . . . . . . .
60 %.69 Dark Coral . . . . . . . . . . . . . . . .
10 %.
35
%
%
bisqueware, first brush on black slip or There are two groups of colored 6122 Cedar . . . . . . . . . . . . . . . . . . . . 25 %
one of the base colors (figure 1) then slips. The first group Wilson uses for 630 %.4 Violet . . . . . . . . . . . . . . . . . . . . 60 %. %
sponge it off, leaving slip in the crevices the base coat that she washes off, K5997 Cherry Red* . . . . . . . . . . . . . . 30 %. %
(figure 2). Then, using colored slips dab leaving color in all the recesses. The 27496 Persimmon Red (Cerdec)* . . . . 30 %. %
on bits of color here and there (figure accent slips are more intense and * inclusion pigments

3). Remove some of that with steel wool removed with steel wool. All stains Kate the Younger Clear Glaze
(figure 4). “I can’t use water for this step are Mason stains except for 27496 Cone 6
or it will muddy the colors,” Wilson Persimmon Red, which is from Cer- Ferro Frit 3195 . . . . . . . . . . . . . . . . . . 70 %. %
explains. CAUTION: You must wear dec. Add the stains and bone dry clay EPK Kaolin . . . . . . . . . . . . . . . . . . . . . . 8
to water and allow to sit for 30–60 Wollastonite . . . . . . . . . . . . . . . . . . . . 10 %.
a respirator during this stage. In the
Silica . . . . . . . . . . . . . . . . . . . . . . . . . 12
final step, she dips the piece in a clear minutes so it will mix easier. 10 %.0 %. %
glaze, and fires to cone 6. Through lots Note: Stain-bearing slips applied
Add: Bentonite . . . . . . . . . . . . . . . . . . . 2 %
of experimenting, and with lots more to to surfaces that come into contact
go, Wilson finds that ending with a dark with food need to be covered with From Richard Burkett . Use over colored slips .
color on top works best for her. a food-safe clear glaze. Shiny, resistant to crazing, cool slowly .

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