At the Potter’s House, we mix our glazes using a wide variety of powdered minerals according to formulas we’ve devised down through the years to fit our clays and firing methods. These minerals not only determine the final color of the glaze but also create various textures as well. Our labors with glazes for the past 15 years have brought forth the 11 glazes and glaze combinations we feature today.
This glaze technique combines dipping, pouring and brush work, which results in a variegated tumbling effect unique to each handcrafted piece.
For these rich tones, we combine Brazos Sage, a celadon and a wash of red iron and rutile. We offer this as a full line of wheel-thrown and handbuilt pottery in dozens of vessel shapes, sizes and functions. Homestead Green features as our signature pottery.
This combination of minerals produces a beautiful, softly mottled sage green glaze. In some firings, it emerges from the kiln colored with lavender or blue hues. At other times minute, cream-colored crystals appear.
Through a time of glaze development over five years ago, we found this warm sage green, which we named Brazos Sage. This wonderful glaze is achieved by one simple dip into our 15 gallon vat, although we must use care to get just the right thickness of glaze on each pot. Brazos Sage demands the hottest spots in the kiln, requiring temperatures of at least 2400ºF to get the effects we want.
These pale, delicate green glazes uniformly coat our vessels with a smooth, opaque finish.
Celadons require an unusually thick layer of glaze. We found the best way to achieve this thickness is to dip the vessel in the liquid glaze and let it dry overnight, then spray an additional layer on the following day. We offer pottery in both a light and a dark celadon. Both are traditional Oriental glazes—one is commonly found in Thailand; the other is traditionally Chinese.
Flowing runs of deep royal blue, satiny white and rich rust tones combine in a variety of ways that make each piece truly unique.
This glaze was the answer to those who loved the swirling effects we achieve with the Homestead Green, but preferred blue tones instead. Homestead Blue uses a combination of a matte white, a deep shade of royal blue and a special wash.
Traditional Blue Banded
This old-world pottery pattern with its crisp blue bands has been handed down through the years as a traditional design.
The skillfully placed bands of blue are painted on each vessel by the potter once the piece is fully formed, before it is removed from the wheelhead. The brush is set to achieve a uniformly clean stripe. Each piece is finished with a coat of glossy, clear glaze.
This cheerful design is a favorite in the springtime, as bluebonnets are Texas’s most beloved wildflower.
For our bluebonnet pottery, our potters hand paint the bluebonnets on each piece of greenware and then airbrush the rim with a cobalt underglaze. A clear glaze is applied after it has been fired to bisque (1845ºF). We feature our bluebonnet pottery seasonally.
This vibrant glaze covers our pottery pieces with a smooth, sparkling coat of blue.
A blue cobalt glaze is a must in every pottery shop. Known for its consistent, unvarying nature, this traditional glaze with its bright blue color complements and accents many of our other colors and designs.
Brown & Bronze Glazes
Southwestern desert colors contrasted by a rich fluid green comprise this stunning glaze.
This glaze is a combination of six different colors, ranging from a hard, dry matte and a fluid high gloss, which create a beautiful effect of color as well as texture. All of the glazes are applied by airbrushing. This is quickly becoming one of our best-selling lines.
This design combines hand-carving, antiquing and bronzing with an added contrasting trim of shiny white or royal blue.
Each wheat design is carefully hand-carved into the clay body while the finished vessel is halfway dry and still in a leather-hard stage. We use several tools to carve the wheat kernels and the stalks. Once the carved piece fully dries and is bisqued, we antique the design with a wash of dark bronze glaze, wiping it off the vessel’s wall, but leaving the glaze in the creases of the design. We then glaze the rims to be a glossy white or a bright royal blue. As a finishing touch, we spray the vessel once again with a thin glaze that looks burnished once the vessel is fired.
This dramatic glaze breaks into a medley of variegated hues in reds, purples and blues with touches of frosty white.
The playful nature of this glaze yields a pleasant variety of glaze effects. The unexpected breaking and gradients of colors make each piece distinctive.
Fuchsia is one of those glazes that needs a very thick coating of glaze. We have to be careful it isn’t applied so thick that it runs onto the kiln shelf.
Deep, rich red tones underlie a sparkling, glossy surface in this unusual glaze.
In our experimentation with reds, we happened onto this recipe which results in a high-gloss coverage of graduated red and cranberry tones. This glaze does best when applied as a thinly sprayed coat. This is unusual, for most reds demand a very thick coat. It is one of our newly developed glazes and looks quite promising for future combinations.