UG-203 - Squash Yellow (pint) Under-glaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

UG-030 - Sand (pint) Under-glaze by Mayco Colors   

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

UG-216 - Peach (pint) Under-glaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

UG-050 - Jet Black (Gallon) Under-glaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

UG-058 - Harvest Gold (Pint) Underglaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

Glaze Combination - EL117 Waterfall over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL127 Rose Granite over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG968 Peppermint Twist over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL213 Painted Desert over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL208 Moss Creek over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG963 Lemon Lime over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG964 Kaleidoscope over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - S2714 Herb Garden over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL204 Glowing Embers over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL150 Fern over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL144 Dark Amethyst over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL133 Autumn over EL107 Amber Ash Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-107 Amber Ash). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

UG-051 - CHINA White (Gallon) Under-glaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

UG-213 - Cinnamon (pint) Under-glaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

UG-215 - Blush (Pint) Underglaze by Mayco Colors  

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

UG-010 - Crimson (Pint) Underglaze by Mayco Colors

Fundamental Under-Glaze Color Guide

Classic & Timeless  

Underglazes was the first product line our company produced in 1954 and continue to be a staple for many ceramic artists. Mayco Underglazes are highly versatile – use for complete coverage or in design, apply to clay or bisque, fires from cone 04 to cone 10. Whether used by a student making his first pinchpot or by a fine artist making gallery quality work, Mayco Underglazes will stand the tests of time and demand in performance.

General Use

Apply to green-ware or shelf cone 04 bisque. For best results, apply color in a flowing motion, keeping brush adequately loaded with glaze. Allow first coat to dry. Apply second coat at a right angle to first coat. If desired, apply third coat at right angle to second coat. If applied to green-ware, fire to shelf cone 04. If desired, apply clear glaze and re-fire to shelf cone 06/05. If applied to bisque, clear glaze can be applied directly to the unfired Underglaze and then fired to shelf cone 06/05.

Application Recommendations

The following application recommendations are based upon the original product development intent and use for the product. Information on alternative application methods is listed in the section "Usage Variations and FAQ's". 
 

• Underglazes can be used directly from the jar, but should be put out onto a tile to avoid possible contamination of the remaining product in the jar. Make sure the consistency is like melted ice cream. 

• Apply to greenware, clay or bisque. Lightly dampening the ware with a moistened sponge before painting allows better adhesion to the ware. 

• Dip a dampened, blotted brush into the color. Fully load the brush without dragging the brush on the side of the tile. Apply the color in a flowing motion; if it starts to drag, reload the brush. The clay will absorb the moisture from the color, so care has to be used when applying.

• As you flow the color on, avoid ridges and runs. Brush these flaws out as you apply the color. On an embossed piece do not allow excess color to build up. Brush the excess out of the crevices as you apply the underglaze. 

• Apply the first coat. When the dark wet look has disappeared, apply the second coat at a right angle to the first. The third is then applied at a right angle to the second coat. This will assure better coverage.

• Underglazes can also be applied by sponging and spattering. 

• Generally a clear glaze finish is applied after to bring out the true color and vividness of the product.

• If applying to greenware or clay, fire first to cone 04 then apply a transparent glaze and fire to cone 06. If applying to bisque allow the Underglazes to dry and apply clear glaze and fire to cone 06/05 

• Opaque Underglazes are not true color out of the jar. Firing is required to mature their color.

• Colors can be intermixed for custom colors. Underglazes can be fired to higher temperatures.

Usage Variations and FAQs

Q. What is meant by "polishing" an Underglaze?

A. While opaque underglazes can be applied to ware in many ways from brushing to sponging, there is an interesting technique that has survived the tests of time. One of the most striking looks can be achieved by polishing the surface of the color to produce a soft sheen, and then leaving it unglazed. The finished surface resembles earthenware. This technique cannot be obtained by any other method and is unique to opaque underglazes. The beautiful surface is achieved by buffing the opaque underglaze while it is still damp. While the surface is somewhat sealed, it will not be waterproof. This technique is only used on decorative items and is not suitable for surfaces that come into contact with food or drink. This technique creates a great background for spot glazing using a gloss or matte glaze. A smooth surfaced piece works best for polishing Underglazes rather than an embossed piece. Care must be taken to avoid removing the color from sharp angles and rims. It is easy to scratch the ware accidentally with your fingernails, etc. Be careful when applying the color as any ridges or buildup of color will affect the end result. Use a silk sponge to apply the color to eliminate some of these problems and to give a different look. Some colors polish better than others do. Apply three coats of underglaze with a brush, in the usual manner, to assure all over coverage. Apply the colors very evenly and smoothly. Do not allow prolonged drying time between the coats. Thin the same color with water in equal proportions, mix well. Using a ball of soft facial tissue or soft T-shirt material, apply the thinned mixture to a small area about the size of the palm of your hand. When the shiny wet look disappears and the color will not stick to the pad, polish that area briskly. The pressure should be light and the movement fast. It is the friction from the polishing that develops the sheen. Continue to apply the diluted color mixture to a small area at a time, each one slightly overlapping the previous one, until the entire piece has been polished. Now buff the entire surface again, without wetting, until a high sheen has developed. If the color looks blotchy, this will disappear as the piece dries. If you wish to add a design using other opaque Underglazes, be careful not to mar the surface. Use a soft cloth to hold the piece to protect it from body oils and moisture. Wait until the piece has thoroughly dried before tracing the design so the pressure of the transferring does not mar the surface.

Glaze Combination - EL117 Waterfall over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL211 Volcanic Glow over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL131 Turtle Shell over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL124 Stormy Blue over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL212 Spotted Walnut over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL113 Spanish Moss over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG986 Smoke & Fire over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL129 Slate over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL132 Rust Red over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL132 Red Rust over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG785 Royal Fantasy over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL127 Rose Granite over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG713 Peacock Green over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG713 Peacock Green over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL209 Night Sky over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL110 Mudslide over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL208 Moss Creek over EL101Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL122 Malachite over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - FN218 Green Sapphire over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL142 Grass over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL150 Fern over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL144 Dark Amethyst over EL106 Tidal Pool Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL121 Copper Aventurine over EL103 Sea Spray Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-103 Sea Spray). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - EL118 Blue Grotto over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG762 Blue Azure over EL106 Tidal Pool Low Fire Glaze Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-106 Tidal Pool). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Glaze Combination - CG779 Black Opal over EL101 Oyster Shell Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-101 Oyster Shell). Then apply two (2) layers of top glaze, letting glazes dry between coats.

This Combo Kit includes 1 - 4 ounce jar of each color shown above - 2 Jars Total

Mud Tools Soft Yellow Polymer Rib - Shape 5

Shape 5 is the same traditional kidney-shape as Shapes 0 & 1, only bigger. It offers more surface coverage, making it great for smoothing a slab of clay.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Soft Yellow Polymer Rib - Shape 4

Sometimes you need to make a point! The corner on Shape 4 gives a beautiful line on the clay. You also get two flat surfaces and three radiuses. 

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. 
Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Soft Yellow Polymer Rib - Shape 3

Shape 3 is 5 inches wide and gives a good sweep across the clay. This is a good rib if you throw larger objects.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. 
Each polymer rib shape is available in variations of flexibility.  

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Soft Yellow Polymer Rib - Shape 2

Shape 2 is the firstborn in the Mud tools family. It is a remake of Michael Sherrill’s favorite old rib and a workhorse for throwing, smoothing and compressing.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Soft Yellow Polymer Rib Shape 1

Shape 1 is our best seller. Not too big and not too small. It's just right. You need one in your toolbox-really you do. The traditional kidney-shaped rib is the most universally recognized pottery tool. It fits well in the hand and is useful for sculpting, hand building and throwing clay. 

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered. 

Mud Tools Soft Yellow Polymer Rib Shape 0

Shape 0 is our smallest rib and one of our best sellers. The traditional kidney-shape is the most universally recognized clay tool. 
These little ribs can get into tight places and are good for detail work. 
The Red Very Soft is excellent for finishing rims.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. 
We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use.
Whatever you want to make, we've got you covered.

Mud Tools Very Soft Red Polymer Rib - Shape 5

Shape 5 is the same traditional kidney-shape as Shapes 0 & 1, only bigger. It offers more surface coverage, making it great for smoothing a slab of clay.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

MT -Very Soft Red Polymer Rib - Shape 4

Sometimes you need to make a point! The corner on Shape 4 gives a beautiful line on the clay. You also get two flat surfaces and three radiuses. 

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. 
Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Very Soft Red Polymer Rib - Shape 3

Shape 3 is 5 inches wide and gives a good sweep across the clay. This is a good rib if you throw larger objects.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. 
Each polymer rib shape is available in variations of flexibility.  

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

MT - Very Soft Red Polymer Rib - Shape 2

Shape 2 is the firstborn in the Mud tools family. It is a remake of Michael Sherrill’s favorite old rib and a workhorse for throwing, smoothing and compressing.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

MT - Very Soft Red Polymer Rib - Shape 1

Shape 1 is our best seller. Not too big and not too small. It's just right. You need one in your toolbox-really you do. The traditional kidney-shaped rib is the most universally recognized pottery tool. It fits well in the hand and is useful for sculpting, hand building and throwing clay. 

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered. 

MT - Very Soft Red Polymer Rib Shape - 0

Shape 0 is our smallest rib and one of our best sellers. The traditional kidney-shape is the most universally recognized clay tool. 
These little ribs can get into tight places and are good for detail work. 
The Red Very Soft is excellent for finishing rims.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. 
We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use.
Whatever you want to make, we've got you covered.

Mud Tools Stainless Steel Rib - Shape - 5

Shape 5 is the same traditional kidney-shape as Shapes 0 & 1, only bigger. 

It offers more surface coverage, making them great for smoothing a slab of clay.

Mud tools stainless steel ribs are all made of cutlery grade stainless steel with varying flexibility among the tool styles.

Mud Tools Stainless Steel Rib - Shape - 4

Sometimes you have to make a point.
The corner point on the Shape 4 gives a beautiful line on the clay.
You also get two flat surfaces and three radiuses.
Mud tools stainless steel ribs are all made of cutlery grade stainless steel with varying flexibility among the tool styles.

Mud Tools Stainless Steel Rib - Shape - 2

Shape 2  is a workhorse for throwing, smoothing and compressing.  

Mudtools stainless steel ribs are all made of cutlery grade stainless steel with varying flexibility among the tool styles.

Mud Tools Stainless Steel Rib - Shape - 1

Shape 1 is the traditional kidney-shaped rib.

Probably the most universally recognized pottery tool. 

It fits well in the hand and is useful for sculpting, hand building and throwing clay. 

Shape 1 is not too big.  Not too small.  It is just right. 

Mudtools stainless steel ribs are all made of cutlery grade stainless steel with varying flexibility among the tool styles.

Mud Tools Final Detail and Clean Up Finishing White Sponge

The White Finishing is a pop-up sponge made with a tight cell material and is less absorbent than the Blue Workhorse.

It is excellent for finishing work, final detail and clean-up of surfaces and won’t pull out grog or other materials in the clay body.
Think of it like a chamois sponge.
Natural sponges have been used by potters for years. However, the quality of natural sponges can be unpredictable and we try to be environmental conscious about what materials we use and the long term effects.

Our sponges are made of a biodegradable and environmentally friendly material that is incredibly durable.

Your Mud sponge comes to you compressed for economy of space and for the fun of watching them expand when introduced to water.

Mud Tools Most Absorbent Best for Throwing Orange Sponge

The Orange Absorbent pop-up sponge is the perfect throwing sponge.

More absorbent than the White Finishing and the Blue Workhorse, it is the sponge we use for throwing.

Natural sponges have been used by potters for years.
However, the quality of natural sponges can be unpredictable and we try to be environmental conscious about what materials we use and the long term effects.
Our sponges are made of a biodegradable and environmentally friendly material that is incredibly durable.
Your Mud sponge comes to you compressed for economy of space and for the fun of watching them expand when introduced to water.

Mud Tools Work Horse All Purpose Blue Sponge

The Blue Workhorse is a great all-purpose pop-up sponge made of an open cell material that is very absorbent.

We’ve shaped it like a potters rib to fit comfortably in the palm of your hand.

Dyed with a natural pigment, the color will fade with use.

Natural sponges have been used by potters for years. However, the quality of natural sponges can be unpredictable and we try to be environmental conscious about what materials we use and the long term effects.

Our Mud sponges are made of a biodegradable and environmentally friendly material that is incredibly durable. Your Mud sponge comes to you compressed for economy of space and for the fun of watching them expand when introduced to water.

Mud Tools Small Shredder

The Small Shredder is an indispensable tool for shaping and carving leather hard clay. For years you could find a tool like this at the hardware store. This type of rasp was originally designed to be used on wood, but clay people, sculptors and auto-body repairmen discovered how well the blade worked on other materials (like clay and auto body filler). The problem was the handle design. The handle would trap clay and get clogged up. We designed a new open blade shape as well as a comfortable ergonomic grip. It functions well, doesn’t trap the waste clay in the tool and doesn’t frustrate the user. An added benefit is the tool mark, it leaves a handsome textured surface in the clay.

MT- Medium Green Polymer Small Platter Rib

Long and lean, the Small Platter Rib is designed to give good compression when you are making plates and platters enabling you to properly compress the clay and avoid those cracks that sometimes develop.  They are made with a stiff polymer but still offer some flexibility.
The Small Platter Rib is particularly good for making shallow pasta-style bowls.

All of our polymer ribs are made of a unique flexible material, which is resistant to cracking and the formation of burrs. We've found that with general use this rib material becomes burnished over time. Each polymer rib shape is available in a variety of hardnesses. 

•  Green - Medium

•  Black - Extra Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.
We believe our tools should not only function well, but should be pleasant to look at and a joy to use.
Whatever you want to make, we've got you covered.

MT - Soft Yellow Polymer Small Bowl Rib

Small Bowl Rib is designed to give as many radius sweeps on the clay as possible. With a smaller curve in the front and bigger curve in the back, this is a workhorse of a rib. This rib will become indispensable, particularly, if you love throwing round forms.
All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 
  Red -  Very Soft 
  Yellow - Soft
  Green - Medium
  Blue - Firm
Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.
We believe our tools should not only function well, but should be pleasant to look at and a joy to use.

Whatever you want to make, we've got you covered.

MT - Very Soft Red Polymer Small Bowl Rib

Small Bowl Rib is designed to give as many radius sweeps on the clay as possible. With a smaller curve in the front and bigger curve in the back, this is a workhorse of a rib. This rib will become indispensable, particularly, if you love throwing round forms.
All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 
  Red -  Very Soft 
  Yellow - Soft
  Green - Medium
  Blue - Firm
Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.
We believe our tools should not only function well, but should be pleasant to look at and a joy to use.

Whatever you want to make, we've got you covered.

MT - Medium Green Polymer Small Bowl Rib

Small Bowl Rib is designed to give as many radius sweeps on the clay as possible. With a smaller curve in the front and bigger curve in the back, this is a workhorse of a rib. This rib will become indispensable, particularly, if you love throwing round forms.
All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 
  Red -  Very Soft 
  Yellow - Soft
  Green - Medium
  Blue - Firm
Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.
We believe our tools should not only function well, but should be pleasant to look at and a joy to use.

Whatever you want to make, we've got you covered.

Mud Tools Stainless Steel Pebble Drawing Rib - Edge - 4

Love texture? We do!
Our Drawing Ribs are made out of cutlery grade stainless steel. 

Think of our Drawing Ribs like different pen nibs or brush tips. 
The Pebble shape is great for concave surfaces like the inside of a bowl.
Choose from 5 different edges:

EDGE 0 – Smooth
EDGE 1 – Organic
EDGE 2 – Wave
EDGE 3 – Angle
EDGE 4 – Tight Wave
Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Pebble Drawing Rib - Edge - 3

Love texture? We do!
Our Drawing Ribs are made out of cutlery grade stainless steel. 

Think of our Drawing Ribs like different pen nibs or brush tips. 
The Pebble shape is great for concave surfaces like the inside of a bowl.
Choose from 5 different edges:

EDGE 0 – Smooth
EDGE 1 – Organic
EDGE 2 – Wave
EDGE 3 – Angle
EDGE 4 – Tight Wave
Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Pebble Drawing Rib - Edge - 2

Love texture? We do!
Our Drawing Ribs are made out of cutlery grade stainless steel. 

Think of our Drawing Ribs like different pen nibs or brush tips. 
The Pebble shape is great for concave surfaces like the inside of a bowl.
Choose from 5 different edges:

EDGE 0 – Smooth
EDGE 1 – Organic
EDGE 2 – Wave
EDGE 3 – Angle
EDGE 4 – Tight Wave
Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Pebble Drawing Rib - Edge - 1

Love texture? We do!
Our Drawing Ribs are made out of cutlery grade stainless steel. 

Think of our Drawing Ribs like different pen nibs or brush tips. 
The Pebble shape is great for concave surfaces like the inside of a bowl.
Choose from 5 different edges:

EDGE 0 – Smooth
EDGE 1 – Organic
EDGE 2 – Wave
EDGE 3 – Angle
EDGE 4 – Tight Wave
Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Pebble Drawing Rib - Edge - 0

Love texture? We do!
Our Drawing Ribs are made out of cutlery grade stainless steel. 

Think of our Drawing Ribs like different pen nibs or brush tips. 
The Pebble shape is great for concave surfaces like the inside of a bowl.
Choose from 5 different edges:

EDGE 0 – Smooth
EDGE 1 – Organic
EDGE 2 – Wave
EDGE 3 – Angle
EDGE 4 – Tight Wave
Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Paisley Scrapper Smooth Edged Rib

Paisley Scraper proves itself indispensable for sculpting, shaping, and refining leather hard clay.

The tight inside radius is good for working around joints (for example, at the inside of a teapot spout.)

It is available in three different edges:

Smooth

24 Teeth Extra Fine

18 Teeth Fine

We like to use the teeth to remove and shape clay and then follow up with a Polymer Rib to smooth and polish.

Made from a flexible cutlery grade stainless steel. 

Mud Tools Stainless Paisley Scrapper 24 Teeth Rib

Paisley Scraper proves itself indispensable for sculpting, shaping, and refining leather hard clay.

The tight inside radius is good for working around joints (for example, at the inside of a teapot spout.)

It is available in three different edges:

Smooth

24 Teeth Extra Fine

18 Teeth Fine

We like to use the teeth to remove and shape clay and then follow up with a Polymer Rib to smooth and polish.

Made from a flexible cutlery grade stainless steel. 

Mud Tools Stainless Paisley Scrapper 18 Teeth Rib

Paisley Scraper proves itself indispensable for sculpting, shaping, and refining leather hard clay.

The tight inside radius is good for working around joints (for example, at the inside of a teapot spout.)

It is available in three different edges:

Smooth

24 Teeth Extra Fine

18 Teeth Fine

We like to use the teeth to remove and shape clay and then follow up with a Polymer Rib to smooth and polish.

Made from a flexible cutlery grade stainless steel. 

Mud Tools Mud Shark Trimming Tool

First of all, this tool is just cool to look at. 
The Mud shark is designed to combine the two tools most commonly used when throwing pots: a needle tool to trim the rim at the top and a fettling knife to cut away the waste at the base.
Like a real shark, the Mud shark needle is sharp and will bite, so we designed it to fold away when you don’t need it.
Safety first! Your fingers will thank you.

Mud Tools Mud Cutter with Straight Wire

The Mud Cutter may be the most useful tool that you didn’t know you needed. It’s a wire tool with a ridged bowed frame. This allows you to cut one handed. You can single handedly cut clay from a pug mill or extruder or cut just the right angle on spout before attaching it to the pot. It’s like an extra hand!
Made with a stainless steel frame and a comfortable polymer handle.

Can be strung with a straight or curly wire.

Replacement wires are available in either straight or curly designs.

The Mud Cutter is slightly larger than the Carving Bow, thus the wires are specific for each tool.

Mud Tools Stainless Long Scrapper Smooth Rib

Mud Tools Stainless Long Scrapper 24 Teeth Rib

The Long Scraper is available in four different edge styles:
Smooth edge
Extra-Fine edge (24 teeth per inch)
Fine edge (18 teeth per inch)
Regular edge (12 teeth per inch.)
The smooth edge works great for throwing, the toothy edge is fantastic for scoring, scraping and planing the clay. This is a good tool for sculpting and hand building.
Made from a flexible cutlery grade stainless steel. 

Mud Tools Stainless Long Scrapper 18 Teeth Rib

The Long Scraper is available in four different edge styles:
Smooth edge
Extra-Fine edge (24 teeth per inch)
Fine edge (18 teeth per inch)
Regular edge (12 teeth per inch.)
The smooth edge works great for throwing, the toothy edge is fantastic for scoring, scraping and planing the clay. This is a good tool for sculpting and hand building.
Made from a flexible cutlery grade stainless steel. 

Mud Tools Stainless Long Scrapper 12 Teeth Rib

The Long Scraper is available in four different edge styles:
Smooth edge
Extra-Fine edge (24 teeth per inch)
Fine edge (18 teeth per inch)
Regular edge (12 teeth per inch.)
The smooth edge works great for throwing, the toothy edge is fantastic for scoring, scraping and planing the clay. This is a good tool for sculpting and hand building.
Made from a flexible cutlery grade stainless steel. 

MT - Soft Yellow Polymer Large Bowl Rib

Large Bowl Rib is the big brother of the Small Bowl Rib.  It is designed to give as many radius sweeps on the clay as possible. 

With a smaller curve in the front and bigger curve in the back, this is a workhorse of a rib. Especially if you are throwing big pots!
All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

MT - Medium Green Polymer Large Bowl Rib

Large Bowl Rib is the big brother of the Small Bowl Rib.  It is designed to give as many radius sweeps on the clay as possible. 

With a smaller curve in the front and bigger curve in the back, this is a workhorse of a rib. Especially if you are throwing big pots!
All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

Mud Tools Stainless Steel Leaf Drawing Rib - Edge - 4

Love texture? We do!

Our Drawing Ribs are made out of cutlery grade stainless steel. Think of our Drawing Ribs like different pen nibs or brush tips. 
This Leaf shape is a perfect fit for your finger tips and the sharp tip is great for getting in to close corners. 
Choose from 5 different edges:

EDGE 0 – Smooth

EDGE 1 – Organic

EDGE 2 – Wave

EDGE 3 – Angle

EDGE 4 – Tight Angle

 Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Leaf Drawing Rib - Edge - 3

Love texture? We do!

Our Drawing Ribs are made out of cutlery grade stainless steel. Think of our Drawing Ribs like different pen nibs or brush tips. 
This Leaf shape is a perfect fit for your finger tips and the sharp tip is great for getting in to close corners. 
Choose from 5 different edges:

EDGE 0 – Smooth

EDGE 1 – Organic

EDGE 2 – Wave

EDGE 3 – Angle

EDGE 4 – Tight Angle

 Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Leaf Drawing Rib - Edge - 2

Love texture? We do!

Our Drawing Ribs are made out of cutlery grade stainless steel. Think of our Drawing Ribs like different pen nibs or brush tips. 
This Leaf shape is a perfect fit for your finger tips and the sharp tip is great for getting in to close corners. 
Choose from 5 different edges:

EDGE 0 – Smooth

EDGE 1 – Organic

EDGE 2 – Wave

EDGE 3 – Angle

EDGE 4 – Tight Angle

 Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Leaf Drawing Rib - Edge - 1

Love texture? We do!

Our Drawing Ribs are made out of cutlery grade stainless steel. Think of our Drawing Ribs like different pen nibs or brush tips. 
This Leaf shape is a perfect fit for your finger tips and the sharp tip is great for getting in to close corners. 
Choose from 5 different edges:

EDGE 0 – Smooth

EDGE 1 – Organic

EDGE 2 – Wave

EDGE 3 – Angle

EDGE 4 – Tight Angle

 Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

Mud Tools Stainless Steel Leaf Drawing Rib - Edge - 0

Love texture? We do!
Our Drawing Ribs are made out of cutlery grade stainless steel. Think of our Drawing Ribs like different pen nibs or brush tips. 
This Leaf shape is a perfect fit for your finger tips and the sharp tip is great for getting in to close corners. 
Choose from 5 different edges:

EDGE 0 – Smooth
EDGE 1 – Organic
EDGE 2 – Wave
EDGE 3 – Angle
EDGE 4 – Tight Angle
 Drag. Hatch. Let you imagination have free reign. Have fun discovering every side of these ribs.

MT- Medium Green Polymer Large Platter Rib

Long and lean, the Large Platter Rib is designed to give good compression when you are making plates and platters enabling you to properly compress the clay and avoid those cracks that sometimes develop.  They are made with a stiff polymer, but still offer some flexibility.

All of our polymer ribs are made of a unique material, which is resistant to cracking and the formation of burrs. We've found that with general use this rib material becomes burnished over time. 
Each polymer rib shape is available in a variety of hardnesses. 

•  Green - Medium

•  Black - Extra Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve. We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Hax Tool

The tool you didn't know you were missing! The Hax Tool is an exceptionally good tool for the hand builder.  At almost 6″ long it can cover a lot of territory while still getting into tight spots with it’s points. The micro-fine teeth allow you to do detailed manicuring and finishing. It removes leather hard clay with ease and scores and blends wet surfaces as well. An added benefit is that the Hax Tool is bendable and you can customize the shape to suit your sculpting needs.

Use the Hax Tool to remove and shape the clay, wipe down with the White Finishing Mud sponge, and then burnish with a Red Very Soft or Yellow Soft Polymer Rib.

Mud Tools Medium Green Polymer Rib - Shape 5

Shape 5 is the same traditional kidney-shape as Shapes 0 & 1, only bigger. It offers more surface coverage, making it great for smoothing a slab of clay.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Medium Green Polymer Rib - Shape 4

Sometimes you need to make a point! The corner on Shape 4 gives a beautiful line on the clay. You also get two flat surfaces and three radiuses. 

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. 
Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Medium Green Polymer Rib - Shape 3

Shape 3 is 5 inches wide and gives a good sweep across the clay. This is a good rib if you throw larger objects.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. 
Each polymer rib shape is available in variations of flexibility.  

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.

We believe our tools should not only function well, but should be pleasant to look at and a joy to use. Whatever you want to make, we've got you covered.

Mud Tools Medium Green Polymer Rib - Shape 2

Shape 2 is the firstborn in the Mud tools family. It is a remake of Michael Sherrill’s favorite old rib and a workhorse for throwing, smoothing and compressing.

All of our polymer ribs are made of unique flexible materials that are resistant to cracking and the formation of burrs. We've found that with general use these ribs become burnished over time. Each polymer rib shape is available in variations of flexibility. 

  Red -  Very Soft 

  Yellow - Soft

  Green - Medium

  Blue - Firm

Whether you are throwing clay on the wheel, hand building or sculpting, the pottery rib is a classic and essential tool. It acts as an extension of the potters hand to create shapes and surfaces that fingers alone can not achieve.