Frequently Asked Questions
Don’t worry if you’re new to ceramics — I’ve gathered some of the most common questions I get about underglazes, glazes, and clay. Here’s everything explained in a simple way, so you can feel confident and enjoy the process.
Underglaze is used for drawing and coloring. It stays exactly where you paint it, so it’s perfect for adding little details, soft illustrations, or patterns. It dries matte, and if you want it to be food-safe or glossy, you’ll need to cover it with a clear glaze.
Glaze is like a top coat. It melts in the kiln and creates a shiny (or matte!) glassy layer that seals the piece. You can use it on its own or layer it on top of underglaze.
They work beautifully together — like paint and varnish — and once you try them, it all starts to make sense.
Glaze is like a top coat. It melts in the kiln and creates a shiny (or matte!) glassy layer that seals the piece. You can use it on its own or layer it on top of underglaze.
They work beautifully together — like paint and varnish — and once you try them, it all starts to make sense.
Underglazes
Underglaze is like paint for clay. You can use it to draw, decorate, or add color to your piece — and the best part is that it stays exactly where you put it, even after firing. So if you love painting soft florals, writing words, or making tiny details, underglaze is perfect for that.
You can use a brush, sponge, or even your fingers — no need to be a pro to start creating something lovely.
You can use a brush, sponge, or even your fingers — no need to be a pro to start creating something lovely.
Yes, but only for decorative pieces. Underglaze on its own is matte and slightly absorbent, so if you’re making something like a small sculpture or trinket dish, it’s totally fine.
But for cups, plates, or anything that touches food or liquid — you’ll need to add a clear glaze on top to seal it and make it food-safe.
But for cups, plates, or anything that touches food or liquid — you’ll need to add a clear glaze on top to seal it and make it food-safe.
You can use underglaze in two stages, depending on what you prefer:
- On dry but unfired clay — this is often called greenware. At this stage, the underglaze will soak in a little more and become part of the surface.
- On once-fired clay — this is called bisqueware. It feels like a dry sponge, and painting on it gives you a bit more control over lines and brushstrokes.
Yes! Underglazes are made to be mixed — just like watercolors or paints. You can create your own soft tones, pastels, or bold colors. I always recommend testing your mix on a small tile, since some colors change a little after firing.
Yes! We also have underglaze pencils, crayons, and chalks — and they’re such a fun way to decorate your ceramics, especially if you enjoy drawing.
Pencils work just like regular sketching tools — great for adding outlines, writing, or tiny details.
Crayons and chalks give you a softer, more playful look. You can use them to shade, layer colors, or add texture. They’re also a wonderful option for kids or beginners, especially if holding and controlling a brush feels tricky at first. You can draw freely, then finish your piece with a clear glaze if you’d like it sealed and glossy.
Pencils work just like regular sketching tools — great for adding outlines, writing, or tiny details.
Crayons and chalks give you a softer, more playful look. You can use them to shade, layer colors, or add texture. They’re also a wonderful option for kids or beginners, especially if holding and controlling a brush feels tricky at first. You can draw freely, then finish your piece with a clear glaze if you’d like it sealed and glossy.
Glazes
Glaze is like a magical top coat for your piece. It melts in the kiln and turns into a smooth, glassy (or matte!) finish. It makes your ceramics waterproof, shiny, and safe for everyday use. Some glazes stay clear, while others add color, texture, or even special effects.
For beginners, the best time to glaze your piece is after it’s been bisque fired — that’s when your clay has been fired once and feels like a dry, hard sponge. This helps the glaze stick better and gives you more control.
Some experienced artists do apply glaze directly to unfired clay (called single firing), but that method takes a bit more practice.
Also, before glazing, it’s a good idea to gently wipe your piece with a damp sponge — this removes any dust and helps the glaze go on nice and smooth.
Some experienced artists do apply glaze directly to unfired clay (called single firing), but that method takes a bit more practice.
Also, before glazing, it’s a good idea to gently wipe your piece with a damp sponge — this removes any dust and helps the glaze go on nice and smooth.
Not always!
Some glazes are full-color and finish-ready on their own. But if you’ve decorated your piece with underglaze, adding a clear glaze on top will protect your design and give it that glossy (or matte) final look.
Some glazes are full-color and finish-ready on their own. But if you’ve decorated your piece with underglaze, adding a clear glaze on top will protect your design and give it that glossy (or matte) final look.
Yes, absolutely. You can glaze a piece on its own without any decoration underneath — and still get beautiful results. Some glazes have special textures, colors, or reactions when fired, so they’re lovely even on plain clay.
Most of them are! On every product page, you’ll see a little food-safe mark if it’s safe to use on dishes, mugs, or anything that touches food. We make sure it’s clearly shown so you don’t have to guess.
Tiny holes or bumps in your glaze (called pinholing) usually happen because gases get trapped during firing and try to escape. Here are a few common reasons:
To help avoid this, try:
- The bisque wasn’t fired hot enough (so it still released gases during glaze firing)
- There were dust or oil spots on the bisqued piece
- The glaze was applied too thickly
- The glaze firing was too fast, not giving gases enough time to escape
- You may have used a lot of recycled clay, which can trap more air
To help avoid this, try:
- Wiping your piece with a damp sponge before glazing
- Applying thinner, even coats
- Bisque firing a bit hotter next time
- Slowing down your glaze firing schedule slightly
Yes, and there are two ways to play with glaze combinations!
1. Layering on the piece
This is the most common way. You can apply one glaze as a base layer, then brush or dip another glaze over it. For example, 1 coat of a satin glaze + 2 coats of a glossy glaze can create soft blends or interesting effects. This method often gives prettier results than mixing liquids — and it’s great for experimenting!
2. Mixing in the jar
Some artists stir two glazes together in a cup to create a new color. This works too, but results can be more unpredictable — so always test on a small piece first.
Before layering or mixing, make sure your glazes all fire at the same temperature range (or cone) — that way they’ll melt properly together without issues.
1. Layering on the piece
This is the most common way. You can apply one glaze as a base layer, then brush or dip another glaze over it. For example, 1 coat of a satin glaze + 2 coats of a glossy glaze can create soft blends or interesting effects. This method often gives prettier results than mixing liquids — and it’s great for experimenting!
2. Mixing in the jar
Some artists stir two glazes together in a cup to create a new color. This works too, but results can be more unpredictable — so always test on a small piece first.
Before layering or mixing, make sure your glazes all fire at the same temperature range (or cone) — that way they’ll melt properly together without issues.
Either way, make sure the glazes are compatible in firing temperature (same cone), and keep your layers even and not too thick so they don’t run during firing.
Each glaze has its “sweet spot” — a recommended firing temperature (or cone) where it melts and looks just right.
Each glaze has its “sweet spot” — a recommended firing temperature (or cone) where it melts and looks just right.
- If you fire lower than recommended, the glaze might not melt fully. It can turn out dry, rough, or powdery instead of glossy and smooth.
- If you fire too high, the glaze might become overly runny, change color, or even bubble or stick to the kiln shelf.
