UG-097 - Bright Blue (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-072 - Wedgewood Blue (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-067 - Ivory (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-003 - Baby Blue (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.

MB1548 Faceted T-Rex in ready to paint, cone 04 ceramic bisque by Mayco

All of our bisque is fired to a cone 04 and is ready to paint.

10.25 L x 4.5 W x 6.5 T

This item is unpainted.

You are purchasing an unfinished, Ready to Paint, Piece of Ceramic Pottery

MB1547 Faceted Dragon in ready to paint, cone 04 ceramic bisque by Mayco

All of our bisque is fired to a cone 04 and is ready to paint.

10.5 L x 6 W x 6.25 H

This item is unpainted.

You are purchasing an unfinished, Ready to Paint, Piece of Ceramic Pottery

RL-002 - Wavy Lines Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

MRX-017 - Wavy Mini Roller 2 cm 

MRX - Mini Rollers have a rolling design face that is 2 cm (0.8 inch) across.  Our Mini Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our Mni Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our Mini Rollers are best rolled with the RH-2 Handle. The RH-2 splits apart to facilitate inserting a different MRS, MRL, or MRX Roller.

One RH-2 is all you need to use for any MRS, MRL, or MRX Roller.

The RH-2 and rollers are sold separately.  

MRX-018 - Waves Mini Roller 2 cm 

MRX - Mini Rollers have a rolling design face that is 2 cm (0.8 inch) across.  Our Mini Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our Mni Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our Mini Rollers are best rolled with the RH-2 Handle. The RH-2 splits apart to facilitate inserting a different MRS, MRL, or MRX Roller.

One RH-2 is all you need to use for any MRS, MRL, or MRX Roller.

The RH-2 and rollers are sold separately.  

BHR-054 - Vines Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RM-028 - Tri Spirals Medium Handle Roller

RM - Medium Handle Rollers have a rolling design face that is 3 cm (1.2 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RM Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

BHR-067 - Splash Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RL-104 - Slanted Grooves Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

RH-002 - Roller Handle for Mini Rollers

RH - Our RH-2 Roller Handle make the rollers easy to use.

The RH-2 assist the roller to create clear and distinct designs exactly where you want them.  To use these roller handles, simply pull apart the head of the handle so the metal bar becomes detached from one side.  Then slide a roller on and close the head of the handle again.  When using a roller with the RH-2 roller handle, the head of the handle will stay closed and secure around your roller.  Roll across clay to create straight lines, curvy lines and so much more !

The RH-2 roller handle is designed to fit the MRX, MRL and MRS rollers.  One Roller handle can be used with all the different MRX, MRL and MRS rollers.

HOW TO CLEAN:

Our Roller handles are made from hard wood.  To clean the roller handle, simply use a little bit of water and a cloth to wash off any excess clay that might get on the roller.

RH-001 - Roller Handle for Large Handle Roller

RH - Our RH-1 Roller Handle make the rollers easy to use.

The RH-1 assist the roller to create clear and distinct designs exactly where you want them.  To use these roller handles, simply pull apart the head of the handle so the metal bar becomes detached from one side.  Then slide a roller on and close the head of the handle again.  When using a roller with the RH-1 roller handle, the head of the handle will stay closed and secure around your roller.  Roll across clay to create straight lines, curvy lines and so much more !

The RH-1 roller handle is designed to fit the RL, RM and RS rollers.  One Roller handle can be used with all the different RL, RM and RS rollers.

HOW TO CLEAN:

Our Roller handles are made from hard wood.  To clean the roller handle, simply use a little bit of water and a cloth to wash off any excess clay that might get on the roller.

Roller Board

The Roller Board provides clay artist the ability to smoothly and easily roll any Hand Roller, such as the HR Rollers, the BHR Big Hand Rollers, the LHR Long Hand Rollers and Twigs.  The silicone covered rolling surface is rigid and provides a firm grip, even pressure (avoiding knuckle bumps and other rolling irregularities) and a long smooth roll.

They can be easily sponged off using a moist cloth. 

Size:  They are 13.75 inches long and 3.125 inches wide. 

RL-010 - Rococo Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

RL-012 - River Rapids Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

BHR-064 - Rhomboid Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-053 - Rain Forest Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

MRL-006 - Pebbles Mini Roller 1 cm 

MRL - Mini Rollers have a rolling design face that is 1 cm (0.4 inch) across.  Our Mini Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our Mni Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our Mini Rollers are best rolled with the RH-2 Handle. The RH-2 splits apart to facilitate inserting a different MRS, MRL, or MRX Roller.

One RH-2 is all you need to use for any MRS, MRL, or MRX Roller.

The RH-2 and rollers are sold separately.  

MRX-009 - Pebbles Mini Roller 2 cm 

MRX - Mini Rollers have a rolling design face that is 2 cm (0.8 inch) across.  Our Mini Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our Mni Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our Mini Rollers are best rolled with the RH-2 Handle. The RH-2 splits apart to facilitate inserting a different MRS, MRL, or MRX Roller.

One RH-2 is all you need to use for any MRS, MRL, or MRX Roller.

The RH-2 and rollers are sold separately.  

LHR-008 - Pacific Waves Vertical Long Hand Roller

LHR - Long Hand Rollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. 

The rollers are also beveled carved, allowing them to release easily from clay.

LHR rollers also work great on slabs. You simply roll the LHR roller with your hand across the clay to create a beautiful pattern.  

The ends of the rollers are rounded to avoid a line along each side of the pattern.  This allows patterns to blend. 

For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.

Our rollers are finished with tung oil to ensure durability over many years of use.

Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RM-051 - Nouveau Floral Medium Handle Roller

RM - Medium Handle Rollers have a rolling design face that is 3 cm (1.2 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RM Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

BHR-006 - Lines and Dots Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

HR-042 - Laura's Flowers Hand Roller

HR -  HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.

You simply roll the HR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and lightweight HR rollers are perfect for rolling vertically up the walls of a thrown pot.

BHR rollers also work great on slabs.

The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use.

Our Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-049 - Labyrinth 01 Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-047 - Funky Spiral Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RL-013 - Funky Floral Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

HR-008 - Frost Hand Roller

HR -  HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.

You simply roll the HR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and lightweight HR rollers are perfect for rolling vertically up the walls of a thrown pot.

BHR rollers also work great on slabs.

The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use.

Our Hand Rollers are easily cleaned with water and a soft toothbrush.

RM-046 - Flowers & Leaves Medium Handle Roller

RM - Medium Handle Rollers have a rolling design face that is 3 cm (1.2 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RM Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

MRX-001 - Flower Vine Mini Roller 2 cm 

MRX - Mini Rollers have a rolling design face that is 2 cm (0.8 inch) across.  Our Mini Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our Mni Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our Mini Rollers are best rolled with the RH-2 Handle. The RH-2 splits apart to facilitate inserting a different MRS, MRL, or MRX Roller.

One RH-2 is all you need to use for any MRS, MRL, or MRX Roller.

The RH-2 and rollers are sold separately.  

BHR-038 - Floral Fun Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

SCS-130 - Fleur-de-lis Small Round Stamp 

SCM Stamps are 1.5 cm (0.6 inch) in diameter. 

Our Stamps are beautifully carved, have unique designs and release well from clay or any soft medium.

Our Stamps are made from wood that is precision carved to make deep beautiful impressions.

The Stamps are also bevel carved, allowing them to release easily from clay.

Our Stamps are finished with tung oil to ensure durability for many years of use.

All our Stamps are easily cleaned with water and a soft toothbrush.

SSM-111 - Fleur-de-lis Medium Square Stamp 

SSM Stamps are 3 x 3 cm (1.2 x 1.2 inches) square.

Our Stamps are beautifully carved, have unique designs and release well from clay or any soft medium.

Our Stamps are made from wood that is precision carved to make deep beautiful impressions.

The Stamps are also bevel carved, allowing them to release easily from clay.

Our SSM Stamps have designs on each end, Stamps above a 100 have an embossed and debossed design.

Our Stamps are finished with tung oil to ensure durability for many years of use.

All our Stamps are easily cleaned with water and a soft toothbrush.

SCS-031 - Fleur-de-lis Mini Round Stamp 

SCM Stamps are 1 cm (0.4 inch) in diameter. 

Our Stamps are beautifully carved, have unique designs and release well from clay or any soft medium.

Our Stamps are made from wood that is precision carved to make deep beautiful impressions.

The Stamps are also bevel carved, allowing them to release easily from clay.

Our Stamps are finished with tung oil to ensure durability for many years of use.

All our Stamps are easily cleaned with water and a soft toothbrush.

SCM-131 - Fleur-de-lis Medium Round Stamp 

SCM Stamps are 2.5 cm (1 inch) in diameter. 

Our Stamps are beautifully carved, have unique designs and release well from clay or any soft medium.

Our Stamps are made from wood that is precision carved to make deep beautiful impressions.

The Stamps are also bevel carved, allowing them to release easily from clay.

Our Stamps are finished with tung oil to ensure durability for many years of use.

All our Stamps are easily cleaned with water and a soft toothbrush.

RM-045 - Fleur-De-Lis Medium Handle Roller

RM - Medium Handle Rollers have a rolling design face that is 3 cm (1.2 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RM Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

RS-027 - Fleur-De-Lis Small Handle Roller

RS - Small Handle Rollers have a rolling design face that is 1.5 cm (0.6 inch) across. 

Our Small Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RS Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RS Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

HR-025 - Fleur-De-Lis Hand Roller

HR -  HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.

You simply roll the HR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and lightweight HR rollers are perfect for rolling vertically up the walls of a thrown pot.

BHR rollers also work great on slabs.

The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use.

Our Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-005 - Fleur-De-Lis Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

HR-026 - Dots & Lines Hand Roller

HR -  HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.

You simply roll the HR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and lightweight HR rollers are perfect for rolling vertically up the walls of a thrown pot.

BHR rollers also work great on slabs.

The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use.

Our Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-001 - Diagonal Basket Weave Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

MRL-008 - Daisy Flowers Mini Roller 1 cm 

MRL - Mini Rollers have a rolling design face that is 1 cm (0.4 inch) across.  Our Mini Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our Mni Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our Mini Rollers are best rolled with the RH-2 Handle. The RH-2 splits apart to facilitate inserting a different MRS, MRL, or MRX Roller.

One RH-2 is all you need to use for any MRS, MRL, or MRX Roller.

The RH-2 and rollers are sold separately.  

BHR-007 - Daisies Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

HR-009 - Curlicue Hand Roller

HR -  HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.

You simply roll the HR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and lightweight HR rollers are perfect for rolling vertically up the walls of a thrown pot.

BHR rollers also work great on slabs.

The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use.

Our Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-010 - Curlicue Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

TW-002 - Curlicue Twig Hand Roller

TW - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RL-008 - Cobbles Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

RM-036 - Cobbles Medium Handle Roller

RM - Medium Handle Rollers have a rolling design face that is 3 cm (1.2 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RM Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

HR-010 - Cobbles Hand Roller

HR -  HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.

Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.

You simply roll the HR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and lightweight HR rollers are perfect for rolling vertically up the walls of a thrown pot.

BHR rollers also work great on slabs.

The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use.

Our Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-075 - Celtic Tree of Knowledge Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RM-002 - Braid Medium Handle Roller

RM - Medium Handle Rollers have a rolling design face that is 3 cm (1.2 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RM Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RM, RL or RS Roller.

The RH-1 and rollers are sold separately.  

BHR-011 - Big Woven Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-020 - Big Wave Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

BHR-028 - Big Circles Big Hand Roller

BHR - HandRollers are deeply carved, have unique designs, and release well from clay and any soft medium.
Our rollers are made from wood that is precision carved to make deep beautiful impressions. The rollers are also beveled carved, allowing them to release easily from clay.
You simply roll the BHR roller with your hand across the clay or up the wall of a pot to create a beautiful pattern. Because of their smaller size and light weight, BHR rollers are perfect for rolling vertically up the walls of a thrown pot.
BHR rollers also work great on slabs.
The ends of the rollers are rounded to avoid a line along each side of the pattern. This allows patterns to blend. 
For long rolls, Try our Roller Board which can help create long smooth rolls and avoid knuckle bumps.
Our rollers are finished with tung oil to ensure durability over many years of use. Our  Hand Rollers are easily cleaned with water and a soft toothbrush.

RL-105 - Big Bumps Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

RL-003 - Big Braid Large Handle Roller

RL - Large Handle Rollers have a rolling design face that is 6 cm (2.4 inch) across.  Our Large Handle Rollers are beautifully carved, have unique designs, release well, and have a smooth carved texture. 

Our RL Rollers are made from wood and finished with tung oil to ensure durability for many years of use.

All our Rollers are easily cleaned with water and a soft toothbrush.

Our RL Rollers are best rolled with the RH-1 Handle. The RH-1 splits apart to facilitate inserting a different RL, RM, or RS Roller.

One RH-1 is all you need to use for any RL, RM or RS Roller.

The RH-1 and rollers are sold separately.  

SP-237- Speckled Ivory Tower (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-277 - Speckled Glo Worm (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-201 - Speckled Pink (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-288 - Speckled Tu Tu Tango (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-274 - Speckled Hot Tamale (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-254- Speckled Vanilla Dip (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-209 - Speckled Jaded (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-211 - Speckled Blue Yonder (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-227- Speckled Sour Apple (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SP-245- Speckled My Blue Heaven (8 ounce) Speckled Stroke n Coat by Mayco Colors..  

Speckled Stroke & Coat® glazes are Stroke & Coat® colors with small specks of contrasting hues to add dimension and visual appeal to your creations.

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use.

Product Features and Attributes
Speckled Stroke & Coat® is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10
Kiln Atmosphere - reduction or oxidation firing
Surface - can be applied to greenware of bisque
Body - can be applied to earthenware, stoneware or porcelain
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects
Intermixable - Speckled Stroke & Coat® glazes can be blended to create new colors
Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it.
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color
Glossy Finish - Speckled Stroke & Coat® will fire to a gloss finish - clear glaze is not required
Wide Palette of Colors - Speckled Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

CG-997 Seafoam (4 ounce) Jungle Gem Crystal Glaze by Mayco Colors

Drama! Excitement! 

These beautiful glazes transform in the kiln when small pieces of glass burst into color and intricate pattern during the firing process. Use alone for stunning effects, in glaze combination blending with Stroke & Coats®, Foundations® or Cobblestones or simply as an accent to your design.

General Use

Crystal glazes were designed to mature at cone 06/05. Apply to shelf cone 04 bisque. Shake jar well and stir during the application process. Apply 3 coats with a fan brush, allowing to dry between coats. Avoid placing crystals towards bottom of ware to keep them from flowing onto the kiln shelf during firing. Crystal Glazes can be fired to higher temperatures. Review individual color label for cone 6 firing results. The crystals in the glaze will melt when fired, which may create a textured surface. As that surface may be difficult to properly clean if in contact with food, we recommend crystal glazes to be used on decorative ware. Jungle Gems ™ and Crystalites ™ glazes are certified AP nontoxic, with the exception of CG 707 Woodland Fantasy and CG 713 Peacock Green which require a caution label, CL, due to soluble copper. Please refer to label for specific information

Helpful Hints

• Left-over crystals? Just add a complimentary Foundations® glaze.
• May use a complimentary Foundations® as a base glaze in order to make your crystals go further.
• We recommend a soft fan brush, such as CB-604 #4 or CB-618 #8 Soft Fan, for glaze application.
• Stir frequently as crystals tend to settle in the jar due to their weight.
• Store upside down with lid on securely to allow easy mixing and even dispersion of crystals.
• As crystals tend to flow at higher temperatures, we recommend limiting number of crystals on bottom third of vertical piece to avoid glaze running onto kiln shelf.
• Re-distribution of crystals may be required during the final coat. Where you see the crystal is where you will see it bloom.

  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".

• Shake well prior to each application coat. The reason for this recommendation is that the crystals will settle to the bottom of the jar in a short period of time. If you notice the crystals settling during an application you can either dip your brush to the bottom of the jar to re-dispense or attach the lid and shake vigorously.
• During the application of the third coat of glaze you may find it necessary to re-distribute crystals, or add crystals, on your piece to assure balanced coverage. Use your brush to push crystals onto thinly covered areas or dip your brush into the jar and gather crystals onto it, then "pat" them on the sparsely covered areas.
• We recommend a broad, soft brush, such as a CB-604 #4 or CB-618 #8 Soft Fan Brush, to apply crystal glazes. The fan brush may help more in the even disbursement of the crystals, thus creating a more pleasing pattern in the fired glaze.
• Crystalites™ and Jungle Gems™ were designed to fire to cone 06. Higher temperature firings will change the colors from cone 06 results and movement and flow WILL increase.

  Usage Variations & FAQs

   

  Q: What advice to do have for firing Crystal glazes at higher temperatures?

  A: Crystal glazes, already prone to move, will move that much more at higher temperatures.  The crystals will lose some of their definition and act more as a blending agent.  You'll wan to be careful about placing glaze too close to the bottom of your piece - in addition to stilting you may want to put a tile or a piece of scrap bisque beneath the piece to prevent glaze from running onto your kiln shelves.

  Q: What are some of the ways I can use Crystal glazes in my design work?

  A: Simply apply the crystalites in the pattern and apply as the above directions stated. Several rings of the Crystalites placed in varied patterns are also attractive. Interesting patterns may be obtained by placing several rings of crystals in a necklace-like placement around the piece. The glaze may need to be strained in order to separate the crystals for this procedure. The crystals are then applied using a brush or small spoon in a linear necklace-like ring around the piece. This can be several rings in sequential order or in a zigzag pattern to produce the most pleasing effect.

  Q: Your label states that Crystalites™ and Jungle Gems™are "Food Safe", yet you also include the statement "May not be suitable for food surfaces due to surface characteristics"?

  A: Food Safety is determined by standards established by the Food and Drug Administration (FDA).  ASTM method C-738 and C-927-80 are "leach tests"; the tests involve measuring the chemical composition of an acidic food before exposure to a glazed surface and the chemical composition after a several days.  If the levels of glaze materials found in the food are below the established limits, the glaze can be marketed as "Food Safe." Glazes that create dimensional surfaces also create crevices and nooks that can trap food - even after washing.  This food can develop bacterial growth and cause health issues. Our policy is to discourage the use of textural glazes on ware that is intended for food usage even though the glaze has met all food safety criteria.

  Q: Can I mix leftover crystals into other glazes?

  A: Yes. Foundations® Sheers would be a good choice as these glazes will allow the crystals to expand much like the base glaze of Crystalites™ and Jungle Gems™.

CG-997 Seafoam (pint) Jungle Gem Crystal Glaze by Mayco Colors

Drama! Excitement! 

These beautiful glazes transform in the kiln when small pieces of glass burst into color and intricate pattern during the firing process. Use alone for stunning effects, in glaze combination blending with Stroke & Coats®, Foundations® or Cobblestones or simply as an accent to your design.

General Use

Crystal glazes were designed to mature at cone 06/05. Apply to shelf cone 04 bisque. Shake jar well and stir during the application process. Apply 3 coats with a fan brush, allowing to dry between coats. Avoid placing crystals towards bottom of ware to keep them from flowing onto the kiln shelf during firing. Crystal Glazes can be fired to higher temperatures. Review individual color label for cone 6 firing results. The crystals in the glaze will melt when fired, which may create a textured surface. As that surface may be difficult to properly clean if in contact with food, we recommend crystal glazes to be used on decorative ware. Jungle Gems ™ and Crystalites ™ glazes are certified AP nontoxic, with the exception of CG 707 Woodland Fantasy and CG 713 Peacock Green which require a caution label, CL, due to soluble copper. Please refer to label for specific information

Helpful Hints

• Left-over crystals? Just add a complimentary Foundations® glaze.
• May use a complimentary Foundations® as a base glaze in order to make your crystals go further.
• We recommend a soft fan brush, such as CB-604 #4 or CB-618 #8 Soft Fan, for glaze application.
• Stir frequently as crystals tend to settle in the jar due to their weight.
• Store upside down with lid on securely to allow easy mixing and even dispersion of crystals.
• As crystals tend to flow at higher temperatures, we recommend limiting number of crystals on bottom third of vertical piece to avoid glaze running onto kiln shelf.
• Re-distribution of crystals may be required during the final coat. Where you see the crystal is where you will see it bloom.

  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".

• Shake well prior to each application coat. The reason for this recommendation is that the crystals will settle to the bottom of the jar in a short period of time. If you notice the crystals settling during an application you can either dip your brush to the bottom of the jar to re-dispense or attach the lid and shake vigorously.
• During the application of the third coat of glaze you may find it necessary to re-distribute crystals, or add crystals, on your piece to assure balanced coverage. Use your brush to push crystals onto thinly covered areas or dip your brush into the jar and gather crystals onto it, then "pat" them on the sparsely covered areas.
• We recommend a broad, soft brush, such as a CB-604 #4 or CB-618 #8 Soft Fan Brush, to apply crystal glazes. The fan brush may help more in the even disbursement of the crystals, thus creating a more pleasing pattern in the fired glaze.
• Crystalites™ and Jungle Gems™ were designed to fire to cone 06. Higher temperature firings will change the colors from cone 06 results and movement and flow WILL increase.

  Usage Variations & FAQs

   

  Q: What advice to do have for firing Crystal glazes at higher temperatures?

  A: Crystal glazes, already prone to move, will move that much more at higher temperatures.  The crystals will lose some of their definition and act more as a blending agent.  You'll wan to be careful about placing glaze too close to the bottom of your piece - in addition to stilting you may want to put a tile or a piece of scrap bisque beneath the piece to prevent glaze from running onto your kiln shelves.

  Q: What are some of the ways I can use Crystal glazes in my design work?

  A: Simply apply the crystalites in the pattern and apply as the above directions stated. Several rings of the Crystalites placed in varied patterns are also attractive. Interesting patterns may be obtained by placing several rings of crystals in a necklace-like placement around the piece. The glaze may need to be strained in order to separate the crystals for this procedure. The crystals are then applied using a brush or small spoon in a linear necklace-like ring around the piece. This can be several rings in sequential order or in a zigzag pattern to produce the most pleasing effect.

  Q: Your label states that Crystalites™ and Jungle Gems™are "Food Safe", yet you also include the statement "May not be suitable for food surfaces due to surface characteristics"?

  A: Food Safety is determined by standards established by the Food and Drug Administration (FDA).  ASTM method C-738 and C-927-80 are "leach tests"; the tests involve measuring the chemical composition of an acidic food before exposure to a glazed surface and the chemical composition after a several days.  If the levels of glaze materials found in the food are below the established limits, the glaze can be marketed as "Food Safe." Glazes that create dimensional surfaces also create crevices and nooks that can trap food - even after washing.  This food can develop bacterial growth and cause health issues. Our policy is to discourage the use of textural glazes on ware that is intended for food usage even though the glaze has met all food safety criteria.

  Q: Can I mix leftover crystals into other glazes?

  A: Yes. Foundations® Sheers would be a good choice as these glazes will allow the crystals to expand much like the base glaze of Crystalites™ and Jungle Gems™.

DSS0162 Holiday Icons Designer Silk Screen  

Mayco Designer Silkscreens are a great way to add intricate detail to your work. Each screen is 15” x 12” with different themes (Sealife, Nautical, etc) or patterns (Chevron or stripes). Combine  AC310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a paste which is pushed through the screen onto bisque or unfired glaze surface.  Designer Silkscreens can also be used with acrylics or fabric paint and can be applied to other craft surfaces.

Combine AC-310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a ceramic "paste", which is then rubbed through the screen onto your surface. Designer Silkscreens can also be used with acrylics or fabric paint.

The screen size is 12 1/2" H x 18" long, with the actual printed area measuring 11 1/2" H x 15" long. Designs are arranged with planned gutters to allow for folding without affecting any of the designs (the exceptions are the stripes and chevrons). The screens are lightly folded and the crease does not impact design reproduction. Individual screen designs are approximately 3" to 4" at their widest/longest dimension.

DSS0161 Woodland Critters Designer Silk Screen  

Mayco Designer Silkscreens are a great way to add intricate detail to your work. Each screen is 15” x 12” with different themes (Sealife, Nautical, etc) or patterns (Chevron or stripes). Combine  AC310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a paste which is pushed through the screen onto bisque or unfired glaze surface.  Designer Silkscreens can also be used with acrylics or fabric paint and can be applied to other craft surfaces.

Combine AC-310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a ceramic "paste", which is then rubbed through the screen onto your surface. Designer Silkscreens can also be used with acrylics or fabric paint.

The screen size is 12 1/2" H x 18" long, with the actual printed area measuring 11 1/2" H x 15" long. Designs are arranged with planned gutters to allow for folding without affecting any of the designs (the exceptions are the stripes and chevrons). The screens are lightly folded and the crease does not impact design reproduction. Individual screen designs are approximately 3" to 4" at their widest/longest dimension.

DSS0160 Vintage Holiday Designer Silk Screen  

Mayco Designer Silkscreens are a great way to add intricate detail to your work. Each screen is 15” x 12” with different themes (Sealife, Nautical, etc) or patterns (Chevron or stripes). Combine  AC310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a paste which is pushed through the screen onto bisque or unfired glaze surface.  Designer Silkscreens can also be used with acrylics or fabric paint and can be applied to other craft surfaces.

Combine AC-310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a ceramic "paste", which is then rubbed through the screen onto your surface. Designer Silkscreens can also be used with acrylics or fabric paint.

The screen size is 12 1/2" H x 18" long, with the actual printed area measuring 11 1/2" H x 15" long. Designs are arranged with planned gutters to allow for folding without affecting any of the designs (the exceptions are the stripes and chevrons). The screens are lightly folded and the crease does not impact design reproduction. Individual screen designs are approximately 3" to 4" at their widest/longest dimension.

DSS0159 Gnomeland Designer Silk Screen  

Mayco Designer Silkscreens are a great way to add intricate detail to your work. Each screen is 15” x 12” with different themes (Sealife, Nautical, etc) or patterns (Chevron or stripes). Combine  AC310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a paste which is pushed through the screen onto bisque or unfired glaze surface.  Designer Silkscreens can also be used with acrylics or fabric paint and can be applied to other craft surfaces.

Combine AC-310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a ceramic "paste", which is then rubbed through the screen onto your surface. Designer Silkscreens can also be used with acrylics or fabric paint.

The screen size is 12 1/2" H x 18" long, with the actual printed area measuring 11 1/2" H x 15" long. Designs are arranged with planned gutters to allow for folding without affecting any of the designs (the exceptions are the stripes and chevrons). The screens are lightly folded and the crease does not impact design reproduction. Individual screen designs are approximately 3" to 4" at their widest/longest dimension.

DSS0158 Buggin Out Designer Silk Screen  

Mayco Designer Silkscreens are a great way to add intricate detail to your work. Each screen is 15” x 12” with different themes (Sealife, Nautical, etc) or patterns (Chevron or stripes). Combine  AC310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a paste which is pushed through the screen onto bisque or unfired glaze surface.  Designer Silkscreens can also be used with acrylics or fabric paint and can be applied to other craft surfaces.

Combine AC-310 Silkscreen Medium with underglazes, Stroke & Coat® or Designer Liner to create a ceramic "paste", which is then rubbed through the screen onto your surface. Designer Silkscreens can also be used with acrylics or fabric paint.

The screen size is 12 1/2" H x 18" long, with the actual printed area measuring 11 1/2" H x 15" long. Designs are arranged with planned gutters to allow for folding without affecting any of the designs (the exceptions are the stripes and chevrons). The screens are lightly folded and the crease does not impact design reproduction. Individual screen designs are approximately 3" to 4" at their widest/longest dimension.

SG704 Speckta Clear Peppermint (4 ounce) by Mayco Colors  

Shown over SC-98 Slime Green and unglazed bisque

Specta Clear Glazes are gloss clear glazes with speckles.  
They can be used over Stroke & Coats, Foundations, Fundamentals Underglaze and Designer Liner.

SG704 Speckta Clear Peppermint (Pint) by Mayco Colors  

Shown over SC-98 Slime Green and unglazed bisque

Specta Clear Glazes are gloss clear glazes with speckles.  

They can be used over Stroke & Coats, Foundations, Fundamentals Underglaze and Designer Liner.

SG703 Specta Clear Autumn (4 ounce) by Mayco Colors  

Shown over SC-41 Bown Cow and unglazed bisque

Specta Clear Glazes are gloss clear glazes with speckles.  
They can be used over Stroke & Coats, Foundations, Fundamentals Underglaze and Designer Liner.

SG703 Specta Clear Autumn (Pint) by Mayco Colors  

Shown over SC-41 Bown Cow and unglazed bisque

Specta Clear Glazes are gloss clear glazes with speckles.  

They can be used over Stroke & Coats, Foundations, Fundamentals Underglaze and Designer Liner.

SC-99 Char-Ming Stroke N Coat (8 ounce) by Mayco Colors  

The Creative Choice 

Stroke & Coat® (The Wonderglaze) is the industry’s most versatile product. It can be applied to  wet clay, earthenware bisque or stoneware bisque, fired from cone 06 to cone 10, in oxidation or reduction and used in every decorative way imaginable. Stroke & Coat® can be the star or play a supporting role in endless glaze combinations. It is the ideal product of choice for the studio, classroom, potter, and fine artist. 

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use. For more information on mid-range performance,

Helpful Hints

• SC-13 Grapel and SC-33 Fruit of the Vine are formulated with Chrome-tin pigments and can be sensitive to non-toxic clear glazes. We recommend prior testing and light application of the clear glaze to avoid milkiness. These colors will not fade when used with Mayco’s NT-CLR glaze.
• SC-70 Pink-a-Dot is more translucent than other Stroke & Coat® glazes. Additional coats may be necessary to achieve opacity.
• Stroke & Coat® glazes do not move or blend when used with other glazes. You can apply side-by-side or layer without losing integrity of design.

Product Features and Attributes
Stroke & Coat®is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze  The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10.
Kiln Atmosphere - reduction or oxidation firing.
Surface - can be applied to greenware of bisque.
Body - can be applied to earthenware, stoneware or porcelain.
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.
Intermixable - Stroke & Coat® glazes can be blended to create new colors.
Design Integrity - can be used to created intricate, detailed designs.  Colors butted against one another will not blend.  Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it..
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.
Glossy Finish - Stroke & Coat® will fire to a gloss finish - clear glaze is not required.
Wide Palette of Colors - Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe.

SC-99 Char-Ming Stroke N Coat (2 ounce) by Mayco Colors  

The Creative Choice 

Stroke & Coat® (The Wonderglaze) is the industry’s most versatile product. It can be applied to  wet clay, earthenware bisque or stoneware bisque, fired from cone 06 to cone 10, in oxidation or reduction and used in every decorative way imaginable. Stroke & Coat® can be the star or play a supporting role in endless glaze combinations. It is the ideal product of choice for the studio, classroom, potter, and fine artist. 

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use. For more information on mid-range performance,

Helpful Hints

• SC-13 Grapel and SC-33 Fruit of the Vine are formulated with Chrome-tin pigments and can be sensitive to non-toxic clear glazes. We recommend prior testing and light application of the clear glaze to avoid milkiness. These colors will not fade when used with Mayco’s NT-CLR glaze.
• SC-70 Pink-a-Dot is more translucent than other Stroke & Coat® glazes. Additional coats may be necessary to achieve opacity.
• Stroke & Coat® glazes do not move or blend when used with other glazes. You can apply side-by-side or layer without losing integrity of design.

Product Features and Attributes
Stroke & Coat®is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze  The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10.
Kiln Atmosphere - reduction or oxidation firing.
Surface - can be applied to greenware of bisque.
Body - can be applied to earthenware, stoneware or porcelain.
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.
Intermixable - Stroke & Coat® glazes can be blended to create new colors.
Design Integrity - can be used to created intricate, detailed designs.  Colors butted against one another will not blend.  Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it..
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.
Glossy Finish - Stroke & Coat® will fire to a gloss finish - clear glaze is not required.
Wide Palette of Colors - Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe.

SC-99 Char-Ming Stroke N Coat (pint) by Mayco Colors  

The Creative Choice 

Stroke & Coat® (The Wonderglaze) is the industry’s most versatile product. It can be applied to  wet clay, earthenware bisque or stoneware bisque, fired from cone 06 to cone 10, in oxidation or reduction and used in every decorative way imaginable. Stroke & Coat® can be the star or play a supporting role in endless glaze combinations. It is the ideal product of choice for the studio, classroom, potter, and fine artist. 

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use. For more information on mid-range performance,

Helpful Hints

• SC-13 Grapel and SC-33 Fruit of the Vine are formulated with Chrome-tin pigments and can be sensitive to non-toxic clear glazes. We recommend prior testing and light application of the clear glaze to avoid milkiness. These colors will not fade when used with Mayco’s NT-CLR glaze.
• SC-70 Pink-a-Dot is more translucent than other Stroke & Coat® glazes. Additional coats may be necessary to achieve opacity.
• Stroke & Coat® glazes do not move or blend when used with other glazes. You can apply side-by-side or layer without losing integrity of design.

Product Features and Attributes
Stroke & Coat®is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze  The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10.
Kiln Atmosphere - reduction or oxidation firing.
Surface - can be applied to greenware of bisque.
Body - can be applied to earthenware, stoneware or porcelain.
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.
Intermixable - Stroke & Coat® glazes can be blended to create new colors.
Design Integrity - can be used to created intricate, detailed designs.  Colors butted against one another will not blend.  Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it..
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.
Glossy Finish - Stroke & Coat® will fire to a gloss finish - clear glaze is not required.
Wide Palette of Colors - Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe.

SC-98 Slime Time  Stroke N Coat (8 ounce) by Mayco Colors  

The Creative Choice 

Stroke & Coat® (The Wonderglaze) is the industry’s most versatile product. It can be applied to  wet clay, earthenware bisque or stoneware bisque, fired from cone 06 to cone 10, in oxidation or reduction and used in every decorative way imaginable. Stroke & Coat® can be the star or play a supporting role in endless glaze combinations. It is the ideal product of choice for the studio, classroom, potter, and fine artist. 

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use. For more information on mid-range performance,

Helpful Hints

• SC-13 Grapel and SC-33 Fruit of the Vine are formulated with Chrome-tin pigments and can be sensitive to non-toxic clear glazes. We recommend prior testing and light application of the clear glaze to avoid milkiness. These colors will not fade when used with Mayco’s NT-CLR glaze.
• SC-70 Pink-a-Dot is more translucent than other Stroke & Coat® glazes. Additional coats may be necessary to achieve opacity.
• Stroke & Coat® glazes do not move or blend when used with other glazes. You can apply side-by-side or layer without losing integrity of design.

Product Features and Attributes
Stroke & Coat®is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze  The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10.
Kiln Atmosphere - reduction or oxidation firing.
Surface - can be applied to greenware of bisque.
Body - can be applied to earthenware, stoneware or porcelain.
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.
Intermixable - Stroke & Coat® glazes can be blended to create new colors.
Design Integrity - can be used to created intricate, detailed designs.  Colors butted against one another will not blend.  Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it..
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.
Glossy Finish - Stroke & Coat® will fire to a gloss finish - clear glaze is not required.
Wide Palette of Colors - Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SC-98 Slime Time  Stroke N Coat (2 ounce) by Mayco Colors  

The Creative Choice 

Stroke & Coat® (The Wonderglaze) is the industry’s most versatile product. It can be applied to  wet clay, earthenware bisque or stoneware bisque, fired from cone 06 to cone 10, in oxidation or reduction and used in every decorative way imaginable. Stroke & Coat® can be the star or play a supporting role in endless glaze combinations. It is the ideal product of choice for the studio, classroom, potter, and fine artist. 

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use. For more information on mid-range performance,

Helpful Hints

• SC-13 Grapel and SC-33 Fruit of the Vine are formulated with Chrome-tin pigments and can be sensitive to non-toxic clear glazes. We recommend prior testing and light application of the clear glaze to avoid milkiness. These colors will not fade when used with Mayco’s NT-CLR glaze.
• SC-70 Pink-a-Dot is more translucent than other Stroke & Coat® glazes. Additional coats may be necessary to achieve opacity.
• Stroke & Coat® glazes do not move or blend when used with other glazes. You can apply side-by-side or layer without losing integrity of design.

Product Features and Attributes
Stroke & Coat®is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze  The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10.
Kiln Atmosphere - reduction or oxidation firing.
Surface - can be applied to greenware of bisque.
Body - can be applied to earthenware, stoneware or porcelain.
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.
Intermixable - Stroke & Coat® glazes can be blended to create new colors.
Design Integrity - can be used to created intricate, detailed designs.  Colors butted against one another will not blend.  Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it..
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.
Glossy Finish - Stroke & Coat® will fire to a gloss finish - clear glaze is not required.
Wide Palette of Colors - Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

SC-98 Slime Time  Stroke N Coat (pint) by Mayco Colors  

The Creative Choice 

Stroke & Coat® (The Wonderglaze) is the industry’s most versatile product. It can be applied to  wet clay, earthenware bisque or stoneware bisque, fired from cone 06 to cone 10, in oxidation or reduction and used in every decorative way imaginable. Stroke & Coat® can be the star or play a supporting role in endless glaze combinations. It is the ideal product of choice for the studio, classroom, potter, and fine artist. 

General Use

One coat will create a translucent finish with subsequent coats increasing opacity. We suggest 2-3 coats for opacity and all over coverage. Let dry between coats. Stroke & Coat® glazes will fire to a gloss finish without clear glaze. However, if desired, a clear glaze may be added. For application to clay, we recommend leaving an area unglazed, such as the back or bottom of the ware, to allow for out-gassing of the clay during the firing process. Stroke & Coat® glazes have been formulated to mature at shelf cone 06/05. Most Stroke & Coat® glazes will maintain their color at higher temperatures, especially reds, oranges, yellows, greens and blues. Their performance changes at cone 6 is noted on each individual product label. We recommend testing prior to use. For more information on mid-range performance,

Helpful Hints

• SC-13 Grapel and SC-33 Fruit of the Vine are formulated with Chrome-tin pigments and can be sensitive to non-toxic clear glazes. We recommend prior testing and light application of the clear glaze to avoid milkiness. These colors will not fade when used with Mayco’s NT-CLR glaze.
• SC-70 Pink-a-Dot is more translucent than other Stroke & Coat® glazes. Additional coats may be necessary to achieve opacity.
• Stroke & Coat® glazes do not move or blend when used with other glazes. You can apply side-by-side or layer without losing integrity of design.

Product Features and Attributes
Stroke & Coat®is a heavy-bodied, versatile glaze that has the widest range of use and application of any Mayco glaze  The extraordinary tolerance and forgiveness of Stroke & Coat® allows it to be used as follows:
Firing Temperature - can be fired from cone 06 to cone 10.
Kiln Atmosphere - reduction or oxidation firing.
Surface - can be applied to greenware of bisque.
Body - can be applied to earthenware, stoneware or porcelain.
Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.
Intermixable - Stroke & Coat® glazes can be blended to create new colors.
Design Integrity - can be used to created intricate, detailed designs.  Colors butted against one another will not blend.  Used in Majolica techniques the glaze will not move nor will it blend into the base glaze beneath it..
Light over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).
Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.
Glossy Finish - Stroke & Coat® will fire to a gloss finish - clear glaze is not required.
Wide Palette of Colors - Stroke & Coat® glazes are available in over 70 vibrant bright and pastel shades.
Non-Toxic, Food Safe

EL 212 - Spotted Walnut (4 ounce) Mayco Element Glaze 

Rich & Elegant

Inspired by aspects of nature, Elements™ and Elements™ Chunkies produce lush, organic, and earthy hues. This high performance art glaze gives the artist a wide variety of options in one product as application, firing temperature and shape will influence the outcome. Elements ™ and Element ™ Chunkies were designed to simulate the aesthetic, movement and interest of mid-range and high fire glazes in a cone 06/05 oxidation kiln firing.

General Use

Elements™ and Element™ Chunkies are designed to mature at cone 06/05. Apply 2-3 coats to shelf cone 04 bisque, allowing to dry between coats. As movement and flowing are characteristics of these glazes, taper off toward the bottom of the ware to prevent glazes running off the piece onto kiln shelves. Elements™ and Elements™ Chunkies can be fired at higher temperatures but will change in appearance. We recommend testing prior to use. The ever popular FN-215 Aztec Jade, FN-217 Evergreen Fir, FN-218 Green Sapphire, and FN-219 Lustre Green are now part of the Elements product family as their performance characteristics are similar.

Helpful Hints

• Uneven glaze application can affect the look of the glaze. We recommend application in one direction.
• Allow ample room for air circulation in the kiln during the firing process as heat work and adequate oxygen can influence the glaze appearance. Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.
• Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.

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". Shake for 5-6 seconds before use. Dispense glaze onto a palette (tile, plate, etc.) and apply with a soft brush or decorating accessory of choice (sponge, stamp, etc.). Dipping your brush directly into the jar could contaminate the jar's contents, especially if you are using other glazes. Apply 3-4 coats to your piece. Elements™ glazes were designed to mature at a shelf cone 06 (999° C or 1830º F). When applying them over a large surface area we recommend a broad, soft brush, such as a CB-604 #4 Soft Fan Brush or CB-618 #8. Moisten the brush with water first. Try to get the brush fully saturated (loaded) and apply each coat in the same direction. When the wet look has gone from the first coat, you may apply the next coat of glaze. Make sure the glaze has dried thoroughly prior to firing. A medium ramp/firing rate is recommended (250°F per hour) at shelf cone 06.

• An uneven glaze application, the piece’s shape and surface texture can affect the fired finish.

• Amount of detail on the ware can also affect the fired finish

• Allow the pieces ample room in the kiln for air circulation during firing. A heavily loaded kiln will affect the color and the float within the colors as will the firing at temperature cone 06 versus cone 05.

• Some Elements™ may produce pleasing effects when fired to cone 6; all will change color:

Usage Variations & FAQs

• Q: Can Elements™ be Mixed with Other Glazes?

  A: Using Elements with Pottery Cascades creates beautiful effects. However, intermixing Elements with other glazes is unpredictable; make test samples first to see if the fired result is the desired effect.

  Q: What are some basic tips for creating effects with Elements™?

  A: Apply to properly fired shelf cone 04 bisque. Use a soft fan or glaze brush, depending on the area and surface to be covered. Generally, three- four coats of glaze are recommended. However, applying four coats will produce a totally different look. For a different effect, brush on three coats and apply a final fourth coat using a silk or sea wool sponge. An uneven glaze application and the ware’s shape and surface (plain or embossed) will also affect the look of the glaze.

  Q: Are Elements™ luster compatible?

  A: When Elements are re-fired to lower luster temperatures (shelf cone 018-020), the original glaze color changes. If this is not a desired effect you will not want to apply lusters over them. However, you may find the re-fired finishes to be desirable. Our advice is to experiment and make test samples using luster with the specific Element™ with which you are using.

Elements
Gorgeous non-toxic glazes in natural earth tones. Surfaces vary from gloss to matte, with subtle variations in each color for a truly unique look. No two pieces will ever be the same. Great for achieving a high fire pottery look at low fire temperatures. Easy application make Elements ideal for ceramic projects in the classroom!
The level of variegation exhibited by theses glazes can be influenced by factors such as the number of coats applied, combinations with other glazes, body surface textures, kiln atmosphere and temperatures. Elements™ will move - some more than others. Understanding each glaze's temperment, how each glaze can be applied, will lead to more successful results.>

Elements Chunkies
The popular earth tone Element Glazes now come with crystals!
During the firing, the crystals spread out to produce a burst of color to create a truly unique look. No two pieces will ever be alike, as the shape of the piece, glaze application; firing temperature and kiln load all affect the final glaze surface.

Product Features and Attributes
Some qualities of Elements & Elements™Chunkies glazes include:
Free Flowing Formula - allows glaze to move and variegate - on its own or in combination with other glazes
All are Non-Toxic.

EL 212 - Spotted Walnut (Pint) - Mayco Element Glaze

Rich & Elegant

Inspired by aspects of nature, Elements™ and Elements™ Chunkies produce lush, organic, and earthy hues. This high performance art glaze gives the artist a wide variety of options in one product as application, firing temperature and shape will influence the outcome. Elements ™ and Element ™ Chunkies were designed to simulate the aesthetic, movement and interest of mid-range and high fire glazes in a cone 06/05 oxidation kiln firing.

General Use

Elements™ and Element™ Chunkies are designed to mature at cone 06/05. Apply 2-3 coats to shelf cone 04 bisque, allowing to dry between coats. As movement and flowing are characteristics of these glazes, taper off toward the bottom of the ware to prevent glazes running off the piece onto kiln shelves. Elements™ and Elements™ Chunkies can be fired at higher temperatures but will change in appearance. We recommend testing prior to use. The ever popular FN-215 Aztec Jade, FN-217 Evergreen Fir, FN-218 Green Sapphire, and FN-219 Lustre Green are now part of the Elements product family as their performance characteristics are similar.

Helpful Hints

• Uneven glaze application can affect the look of the glaze. We recommend application in one direction.
• Allow ample room for air circulation in the kiln during the firing process as heat work and adequate oxygen can influence the glaze appearance. Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.
• Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.

  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". Shake for 5-6 seconds before use. Dispense glaze onto a palette (tile, plate, etc.) and apply with a soft brush or decorating accessory of choice (sponge, stamp, etc.). Dipping your brush directly into the jar could contaminate the jar's contents, especially if you are using other glazes. Apply 3-4 coats to your piece. Elements™ glazes were designed to mature at a shelf cone 06 (999° C or 1830º F). When applying them over a large surface area we recommend a broad, soft brush, such as a CB-604 #4 Soft Fan Brush or CB-618 #8. Moisten the brush with water first. Try to get the brush fully saturated (loaded) and apply each coat in the same direction. When the wet look has gone from the first coat, you may apply the next coat of glaze. Make sure the glaze has dried thoroughly prior to firing. A medium ramp/firing rate is recommended (250°F per hour) at shelf cone 06.

• An uneven glaze application, the piece’s shape and surface texture can affect the fired finish.

• Amount of detail on the ware can also affect the fired finish

• Allow the pieces ample room in the kiln for air circulation during firing. A heavily loaded kiln will affect the color and the float within the colors as will the firing at temperature cone 06 versus cone 05.

• Some Elements™ may produce pleasing effects when fired to cone 6; all will change color:

• Usage Variations & FAQs

  Q: Can Elements™ be Mixed with Other Glazes?

  A: Using Elements with Pottery Cascades creates beautiful effects. However, intermixing Elements with other glazes is unpredictable; make test samples first to see if the fired result is the desired effect.

  Q: What are some basic tips for creating effects with Elements™?

  A: Apply to properly fired shelf cone 04 bisque. Use a soft fan or glaze brush, depending on the area and surface to be covered. Generally, three- four coats of glaze are recommended. However, applying four coats will produce a totally different look. For a different effect, brush on three coats and apply a final fourth coat using a silk or sea wool sponge. An uneven glaze application and the ware’s shape and surface (plain or embossed) will also affect the look of the glaze.

  Q: Are Elements™ luster compatible?

  A: When Elements are re-fired to lower luster temperatures (shelf cone 018-020), the original glaze color changes. If this is not a desired effect you will not want to apply lusters over them. However, you may find the re-fired finishes to be desirable. Our advice is to experiment and make test samples using luster with the specific Element™ with which you are using.

  Elements
  Gorgeous non-toxic glazes in natural earth tones. Surfaces vary from gloss to matte, with subtle variations in each color for a truly unique look. No two pieces will ever be the same. Great for achieving a high fire pottery look at low fire temperatures. Easy application make Elements ideal for ceramic projects in the classroom!
  The level of variegation exhibited by theses glazes can be influenced by factors such as the number of coats applied, combinations with other glazes, body surface textures, kiln atmosphere and temperatures. Elements™ will move - some more than others. Understanding each glaze's temperment, how each glaze can be applied, will lead to more successful results.>
  

  Elements Chunkies
  The popular earth tone Element Glazes now come with crystals!
  During the firing, the crystals spread out to produce a burst of color to create a truly unique look. No two pieces will ever be alike, as the shape of the piece, glaze application; firing temperature and kiln load all affect the final glaze surface.
  
  Product Features and Attributes
  Some qualities of Elements & Elements™Chunkies glazes include:
  Free Flowing Formula - allows glaze to move and variegate - on its own or in combination with other glazes
  All are Non-Toxic.

EL 213 - Painted Desert (4 ounce) Mayco Element Glaze 

Rich & Elegant

Inspired by aspects of nature, Elements™ and Elements™ Chunkies produce lush, organic, and earthy hues. This high performance art glaze gives the artist a wide variety of options in one product as application, firing temperature and shape will influence the outcome. Elements ™ and Element ™ Chunkies were designed to simulate the aesthetic, movement and interest of mid-range and high fire glazes in a cone 06/05 oxidation kiln firing.

General Use

Elements™ and Element™ Chunkies are designed to mature at cone 06/05. Apply 2-3 coats to shelf cone 04 bisque, allowing to dry between coats. As movement and flowing are characteristics of these glazes, taper off toward the bottom of the ware to prevent glazes running off the piece onto kiln shelves. Elements™ and Elements™ Chunkies can be fired at higher temperatures but will change in appearance. We recommend testing prior to use. The ever popular FN-215 Aztec Jade, FN-217 Evergreen Fir, FN-218 Green Sapphire, and FN-219 Lustre Green are now part of the Elements product family as their performance characteristics are similar.

Helpful Hints

• Uneven glaze application can affect the look of the glaze. We recommend application in one direction.
• Allow ample room for air circulation in the kiln during the firing process as heat work and adequate oxygen can influence the glaze appearance. Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.
• Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.

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". Shake for 5-6 seconds before use. Dispense glaze onto a palette (tile, plate, etc.) and apply with a soft brush or decorating accessory of choice (sponge, stamp, etc.). Dipping your brush directly into the jar could contaminate the jar's contents, especially if you are using other glazes. Apply 3-4 coats to your piece. Elements™ glazes were designed to mature at a shelf cone 06 (999° C or 1830º F). When applying them over a large surface area we recommend a broad, soft brush, such as a CB-604 #4 Soft Fan Brush or CB-618 #8. Moisten the brush with water first. Try to get the brush fully saturated (loaded) and apply each coat in the same direction. When the wet look has gone from the first coat, you may apply the next coat of glaze. Make sure the glaze has dried thoroughly prior to firing. A medium ramp/firing rate is recommended (250°F per hour) at shelf cone 06.

• An uneven glaze application, the piece’s shape and surface texture can affect the fired finish.

• Amount of detail on the ware can also affect the fired finish

• Allow the pieces ample room in the kiln for air circulation during firing. A heavily loaded kiln will affect the color and the float within the colors as will the firing at temperature cone 06 versus cone 05.

• Some Elements™ may produce pleasing effects when fired to cone 6; all will change color:

Usage Variations & FAQs

• Q: Can Elements™ be Mixed with Other Glazes?

  A: Using Elements with Pottery Cascades creates beautiful effects. However, intermixing Elements with other glazes is unpredictable; make test samples first to see if the fired result is the desired effect.

  Q: What are some basic tips for creating effects with Elements™?

  A: Apply to properly fired shelf cone 04 bisque. Use a soft fan or glaze brush, depending on the area and surface to be covered. Generally, three- four coats of glaze are recommended. However, applying four coats will produce a totally different look. For a different effect, brush on three coats and apply a final fourth coat using a silk or sea wool sponge. An uneven glaze application and the ware’s shape and surface (plain or embossed) will also affect the look of the glaze.

  Q: Are Elements™ luster compatible?

  A: When Elements are re-fired to lower luster temperatures (shelf cone 018-020), the original glaze color changes. If this is not a desired effect you will not want to apply lusters over them. However, you may find the re-fired finishes to be desirable. Our advice is to experiment and make test samples using luster with the specific Element™ with which you are using.

Elements
Gorgeous non-toxic glazes in natural earth tones. Surfaces vary from gloss to matte, with subtle variations in each color for a truly unique look. No two pieces will ever be the same. Great for achieving a high fire pottery look at low fire temperatures. Easy application make Elements ideal for ceramic projects in the classroom!
The level of variegation exhibited by theses glazes can be influenced by factors such as the number of coats applied, combinations with other glazes, body surface textures, kiln atmosphere and temperatures. Elements™ will move - some more than others. Understanding each glaze's temperment, how each glaze can be applied, will lead to more successful results.>

Elements Chunkies
The popular earth tone Element Glazes now come with crystals!
During the firing, the crystals spread out to produce a burst of color to create a truly unique look. No two pieces will ever be alike, as the shape of the piece, glaze application; firing temperature and kiln load all affect the final glaze surface.

Product Features and Attributes
Some qualities of Elements & Elements™Chunkies glazes include:
Free Flowing Formula - allows glaze to move and variegate - on its own or in combination with other glazes
All are Non-Toxic.

EL 213 - Painted Desert (Pint) - Mayco Element Glaze

Rich & Elegant

Inspired by aspects of nature, Elements™ and Elements™ Chunkies produce lush, organic, and earthy hues. This high performance art glaze gives the artist a wide variety of options in one product as application, firing temperature and shape will influence the outcome. Elements ™ and Element ™ Chunkies were designed to simulate the aesthetic, movement and interest of mid-range and high fire glazes in a cone 06/05 oxidation kiln firing.

General Use

Elements™ and Element™ Chunkies are designed to mature at cone 06/05. Apply 2-3 coats to shelf cone 04 bisque, allowing to dry between coats. As movement and flowing are characteristics of these glazes, taper off toward the bottom of the ware to prevent glazes running off the piece onto kiln shelves. Elements™ and Elements™ Chunkies can be fired at higher temperatures but will change in appearance. We recommend testing prior to use. The ever popular FN-215 Aztec Jade, FN-217 Evergreen Fir, FN-218 Green Sapphire, and FN-219 Lustre Green are now part of the Elements product family as their performance characteristics are similar.

Helpful Hints

• Uneven glaze application can affect the look of the glaze. We recommend application in one direction.
• Allow ample room for air circulation in the kiln during the firing process as heat work and adequate oxygen can influence the glaze appearance. Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.
• Many of the Elements™ produce interesting effects at cone 6 but will change color. We recommend testing to determine color, surface characteristics and movement prior to use.

  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". Shake for 5-6 seconds before use. Dispense glaze onto a palette (tile, plate, etc.) and apply with a soft brush or decorating accessory of choice (sponge, stamp, etc.). Dipping your brush directly into the jar could contaminate the jar's contents, especially if you are using other glazes. Apply 3-4 coats to your piece. Elements™ glazes were designed to mature at a shelf cone 06 (999° C or 1830º F). When applying them over a large surface area we recommend a broad, soft brush, such as a CB-604 #4 Soft Fan Brush or CB-618 #8. Moisten the brush with water first. Try to get the brush fully saturated (loaded) and apply each coat in the same direction. When the wet look has gone from the first coat, you may apply the next coat of glaze. Make sure the glaze has dried thoroughly prior to firing. A medium ramp/firing rate is recommended (250°F per hour) at shelf cone 06.

• An uneven glaze application, the piece’s shape and surface texture can affect the fired finish.

• Amount of detail on the ware can also affect the fired finish

• Allow the pieces ample room in the kiln for air circulation during firing. A heavily loaded kiln will affect the color and the float within the colors as will the firing at temperature cone 06 versus cone 05.

• Some Elements™ may produce pleasing effects when fired to cone 6; all will change color:

• Usage Variations & FAQs

  Q: Can Elements™ be Mixed with Other Glazes?

  A: Using Elements with Pottery Cascades creates beautiful effects. However, intermixing Elements with other glazes is unpredictable; make test samples first to see if the fired result is the desired effect.

  Q: What are some basic tips for creating effects with Elements™?

  A: Apply to properly fired shelf cone 04 bisque. Use a soft fan or glaze brush, depending on the area and surface to be covered. Generally, three- four coats of glaze are recommended. However, applying four coats will produce a totally different look. For a different effect, brush on three coats and apply a final fourth coat using a silk or sea wool sponge. An uneven glaze application and the ware’s shape and surface (plain or embossed) will also affect the look of the glaze.

  Q: Are Elements™ luster compatible?

  A: When Elements are re-fired to lower luster temperatures (shelf cone 018-020), the original glaze color changes. If this is not a desired effect you will not want to apply lusters over them. However, you may find the re-fired finishes to be desirable. Our advice is to experiment and make test samples using luster with the specific Element™ with which you are using.

  Elements
  Gorgeous non-toxic glazes in natural earth tones. Surfaces vary from gloss to matte, with subtle variations in each color for a truly unique look. No two pieces will ever be the same. Great for achieving a high fire pottery look at low fire temperatures. Easy application make Elements ideal for ceramic projects in the classroom!
  The level of variegation exhibited by theses glazes can be influenced by factors such as the number of coats applied, combinations with other glazes, body surface textures, kiln atmosphere and temperatures. Elements™ will move - some more than others. Understanding each glaze's temperment, how each glaze can be applied, will lead to more successful results.>
  

  Elements Chunkies
  The popular earth tone Element Glazes now come with crystals!
  During the firing, the crystals spread out to produce a burst of color to create a truly unique look. No two pieces will ever be alike, as the shape of the piece, glaze application; firing temperature and kiln load all affect the final glaze surface.
  
  Product Features and Attributes
  Some qualities of Elements & Elements™Chunkies glazes include:
  Free Flowing Formula - allows glaze to move and variegate - on its own or in combination with other glazes
  All are Non-Toxic.