SY 546 Snow Specialty Product by Duncan  

The weather outside may be frightful, but the fire is so delightful – fired snow, that is! Capture the billowy magic of snow for your wintertime-inspired projects or to create fun accents on animals.

Duncan® Fired Snow adds dimensional texture that simulates the look of snow when fired. Use it as an accent glaze on Christmas items and animal décor. Apply it up to ¾ inches thick for extra dimension!

How to use Duncan® Fired Snow

1. Stir well to a smooth consistency. Do not add water.

2. Apply heavily to shelf cone 04 bisque. Use a palette knife, brush, sponge, ice cream stick or squeeze bottle. Avoid thin application.

3. Apply over unfired glaze.

4. Fire the shelf cone 06.

5. Clean up with water.

6. Always refer to label instructions for proper application and usage.

Tips & Techniques

1. To obtain a different look, tint or accent Snow with E-Z Stroke® Translucent Underglazes.

2. Fired snow can simulate more than just snow; use it for ocean foam, clouds, etc

X10412 Sculpture Modeling Essential Kit (9pieces)

an $80.00 Value

X10434 Large Hook Pro Sculpting Rake Tool - PSR10

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10433 Medium Hook Pro Sculpting Rake Tool - PSR09

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10432 Small Hook Pro Sculpting Rake Tool - PSR08

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10431 Medium Belly Pro Sculpting Rake Tool - PSR07

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10430 Small Belly Pro Sculpting Rake Tool - PSR06

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10429 Medium Triangle Pro Sculpting Rake Tool - PSR05

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10428 Small Triangle Pro Sculpting Rake Tool - PSR04

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10427 X-Large Triangle Pro Sculpting Rake Tool - PSR03

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10426 Medium Triangle Pro Sculpting Rake Tool - PSR02

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10425 Small Triangle Pro Sculpting Rake Tool - PSR01

The segregated edge aids in creating unique designs

Available in small, medium, and larges sizes with a variety of shapes.

X10439 Sculptors Large Wire Tool Set

Sculptor’s Wire Tools
This innovative design approach allows artist the freedom to customize their favorite wire-tool tips combination for their specific needs, getting the job done more efficiently and enjoyable.  
Available in several sizes in large, medium, and small. They are perfect for a light-cutting, smooth, cleaning, and blending surfaces on a variety of materials such as wax, Sculpey, self-hardening clay, oil-based clay, and moist clay.
The wire-tip tools are made of high-strength stainless steel for long-lasting performance while the soft silicone handle to provide artists an ultimate comfort experience and a pleasure to work.

X10437 Sculptors Small Wire Tool Set

Sculptor’s Wire Tools
This innovative design approach allows artist the freedom to customize their favorite wire-tool tips combination for their specific needs, getting the job done more efficiently and enjoyable.  
Available in several sizes in large, medium, and small. They are perfect for a light-cutting, smooth, cleaning, and blending surfaces on a variety of materials such as wax, Sculpey, self-hardening clay, oil-based clay, and moist clay.
The wire-tip tools are made of high-strength stainless steel for long-lasting performance while the soft silicone handle to provide artists an ultimate comfort experience and a pleasure to work.

X10438 Sculptors Medium Wire Tool Set

Sculptor’s Wire Tools
This innovative design approach allows artist the freedom to customize their favorite wire-tool tips combination for their specific needs, getting the job done more efficiently and enjoyable.  
Available in several sizes in large, medium, and small. They are perfect for a light-cutting, smooth, cleaning, and blending surfaces on a variety of materials such as wax, Sculpey, self-hardening clay, oil-based clay, and moist clay.
The wire-tip tools are made of high-strength stainless steel for long-lasting performance while the soft silicone handle to provide artists an ultimate comfort experience and a pleasure to work.

SCL-067 - Dog Paw Large Round Stamp

SCL Stamps are 4 cm (1.5 inches) 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.

SCL-065 - Dog Paw Print Large Round Stamp 

SCL Stamps are 4 cm (1.5 inches) 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.

SCL-064 - Compass Large Round Stamp 

SCL Stamps are 4 cm (1.5 inches) 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.

MRX-015 - Double Helix 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-014 - Loose Braid 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-013 - Rope 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-012 - Celtic 2 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-011 - Celtic 1 Mini Roller

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.  

TW-009 - Daisy Branch 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.

TW-008 - Lines and Dots 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.

TW-030 - Paw Print 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.

TW-031 - Mountain Reflection 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.

BHR-096 - Lines & Spaces 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.

RS-018 - Double Rope 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.  

RS-010 - Embossed Dots 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.  

RM-009 - Leaf Quilt Block 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.  

RM-006 - Fish 1 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.  

RL-103 - Small 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.  

RL-018 - Deco Zigzag 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-009 - Loose Weave 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-007 - Diamonds 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-006 - Big Zigzag 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.  

Glaze Combination - EL145 Ginger Root over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - EL140 Toasted Almond over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - EL101 Oyster Shell over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - S2726 Cheetah over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - S2708 Oriental Carmel over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG986 Smoke & Fire over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG972 Dragons Breath over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG965 Mocha Marble over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG716 Pagoda Green over EL110 Mudslide Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-110 Mudslide). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - FN217 Evergreen Fir over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - EL150 Fern over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - EL145 Ginger Root over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - EL107 Amber Ash over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

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

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - EL208 Moss Creek over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG965 Mocha Marble over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG962 Blue Azure over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG716 Pagoda Green over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

Glaze Combination - CG713 Peacock Green over EL113 Spanish Moss Low Fire Combo in 4 ounce sized containers

Technique was achieved by brushing on two (2) layers of base glaze (EL-113 Spanish Moss). Then apply two (2) layers of top glaze, letting glazes dry between coats.

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

UG-220 - Sage (pint) Under-glaze by Mayco Colors  

Cone 06: Sage will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

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-219 - Marine Blue (pint) Under-glaze by Mayco Colors   

Cone 06: Marine Blue will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

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-217 - Red Coral (pint) Under-glaze by Mayco Colors   

Cone 06: Red Coral will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear – no change.

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-209 - Jade (pint) Under-glaze by Mayco Colors  

Cone 06: Jade will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

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-204 - Orange (pint) Under-glaze by Mayco Colors   

Cone 06: Orange will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear. No color change.

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-146 - Pink Pink (pint) Under-glaze by Mayco Colors  

Cone 06: Pink Pink will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

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-092 - Lilac (pint) Under-glaze by Mayco Colors  

Cone 06: Lilac will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color lightens. Recommended clear glaze is SW-001 Stoneware Clear: Color concentration occurs.

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-091 - True Teal (pint) Under-glaze by Mayco Colors 

Cone 06: True Teal will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

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.

NT-BR Clear One Brushing (Gallon) by Mayco Colors  

Cone 06: Fast drying and gloss finish. Compatible with Chrome Tin pigments and luster.
Cone 6: No change.

Mayco Low-Fire Clear Glazes

Mayco clear glazes preserve and enhance the surface of your work. Functionally, clear glaze forms an impervious barrier that protects against liquids, dirt and abrasion. Aesthetically, our clear glazes provide a gloss or satin sheen over top of your colored glaze decoration. Please refer to specific product labels and our website for detailed instruction on using and storing clear glazes. These clear glazes are all non-toxic and food safe.

General Use

Brushing glazes differ from dipping versions as they contain organic additives, making the brushing glazes thicker, more viscous than dipping formulas. The amount of glaze deposited on bisque is primarily a function of glaze viscosity and the amount of time the bisque is left in the glaze – careful attention to these two details are critical to obtaining satisfactory results.

S-2101 Crystal Clear Brushing

Clean, clear surface.  AP Non-toxic & Dinnerware safe. Luster compatible.

Usage Variations & FAQs
 

Q: What is a clear glaze?

A: Clear glazes are glass coatings used to completely seal the ware (decorated or undecorated, making the ware impervious to liquids. They are also used to boost the brilliance of the underlying color. Clear glazes can come in different finishes such as gloss (S2101, S2000 and NT-Clear) or matte (C-300).

Q: Should I use a dipping or brushing clear glaze?

A: Choosing a dipping or brushing version of a dipping glaze is dependent on application preference, quantity of glazing and time. Mayco offers pre-made low fire clear glaze in both dipping and brushing formulas. Brushing clear glazes differ from dipping versions in that they contain organic additives, which make the brushing glazes thicker (viscous) than dipping formulas. These additives are meant to improve the flow of glaze from the brush and assist with the even-ness of application, enhancing the fired surface finish. The amount of glaze deposited on the ware is primarily a function of glaze viscosity and the number of applications. Typically 2 applications are required, allowing dry time between coats.

Dipping clear glazes contain fewer organic additives, making dipping glazes less viscous than their brushing counterpart. The amount of glaze deposited on the ware is a function of glaze viscosity and the amount of time left in the glaze. Often dipping glazes are preferred in a studio or production environment where a large quantity of ware is processed. To learn different dipping methods and tips, view our instructional video in YouTube.

Q: What does coefficient of expansion (COE) mean and how does it impact my choices of glazes, clay or bisque?

A: Glaze and clay/bisque bodies are both ceramic materials. During the firing process they expand and then contract together; the rate of expansion/contraction can be measured and mathematically stated as a coefficient of expansion.

NT-BR Clear One Brushing (4 ounce) by Mayco Colors  

Cone 06: Fast drying and gloss finish. Compatible with Chrome Tin pigments and luster.
Cone 6: No change.

Mayco Low-Fire Clear Glazes

Mayco clear glazes preserve and enhance the surface of your work. Functionally, clear glaze forms an impervious barrier that protects against liquids, dirt and abrasion. Aesthetically, our clear glazes provide a gloss or satin sheen over top of your colored glaze decoration. Please refer to specific product labels and our website for detailed instruction on using and storing clear glazes. These clear glazes are all non-toxic and food safe.

General Use

Brushing glazes differ from dipping versions as they contain organic additives, making the brushing glazes thicker, more viscous than dipping formulas. The amount of glaze deposited on bisque is primarily a function of glaze viscosity and the amount of time the bisque is left in the glaze – careful attention to these two details are critical to obtaining satisfactory results.

S-2101 Crystal Clear Brushing

Clean, clear surface.  AP Non-toxic & Dinnerware safe. Luster compatible.

Usage Variations & FAQs
 

Q: What is a clear glaze?

A: Clear glazes are glass coatings used to completely seal the ware (decorated or undecorated, making the ware impervious to liquids. They are also used to boost the brilliance of the underlying color. Clear glazes can come in different finishes such as gloss (S2101, S2000 and NT-Clear) or matte (C-300).

Q: Should I use a dipping or brushing clear glaze?

A: Choosing a dipping or brushing version of a dipping glaze is dependent on application preference, quantity of glazing and time. Mayco offers pre-made low fire clear glaze in both dipping and brushing formulas. Brushing clear glazes differ from dipping versions in that they contain organic additives, which make the brushing glazes thicker (viscous) than dipping formulas. These additives are meant to improve the flow of glaze from the brush and assist with the even-ness of application, enhancing the fired surface finish. The amount of glaze deposited on the ware is primarily a function of glaze viscosity and the number of applications. Typically 2 applications are required, allowing dry time between coats.

Dipping clear glazes contain fewer organic additives, making dipping glazes less viscous than their brushing counterpart. The amount of glaze deposited on the ware is a function of glaze viscosity and the amount of time left in the glaze. Often dipping glazes are preferred in a studio or production environment where a large quantity of ware is processed. To learn different dipping methods and tips, view our instructional video in YouTube.

Q: What does coefficient of expansion (COE) mean and how does it impact my choices of glazes, clay or bisque?

A: Glaze and clay/bisque bodies are both ceramic materials. During the firing process they expand and then contract together; the rate of expansion/contraction can be measured and mathematically stated as a coefficient of expansion.

NT-BR Clear One Brushing (Pint) by Mayco Colors  

Cone 06: Fast drying and gloss finish. Compatible with Chrome Tin pigments and luster.
Cone 6: No change.

Mayco Low-Fire Clear Glazes

Mayco clear glazes preserve and enhance the surface of your work. Functionally, clear glaze forms an impervious barrier that protects against liquids, dirt and abrasion. Aesthetically, our clear glazes provide a gloss or satin sheen over top of your colored glaze decoration. Please refer to specific product labels and our website for detailed instruction on using and storing clear glazes. These clear glazes are all non-toxic and food safe.

General Use

Brushing glazes differ from dipping versions as they contain organic additives, making the brushing glazes thicker, more viscous than dipping formulas. The amount of glaze deposited on bisque is primarily a function of glaze viscosity and the amount of time the bisque is left in the glaze – careful attention to these two details are critical to obtaining satisfactory results.

S-2101 Crystal Clear Brushing

Clean, clear surface.  AP Non-toxic & Dinnerware safe. Luster compatible.

Usage Variations & FAQs
 

Q: What is a clear glaze?

A: Clear glazes are glass coatings used to completely seal the ware (decorated or undecorated, making the ware impervious to liquids. They are also used to boost the brilliance of the underlying color. Clear glazes can come in different finishes such as gloss (S2101, S2000 and NT-Clear) or matte (C-300).

Q: Should I use a dipping or brushing clear glaze?

A: Choosing a dipping or brushing version of a dipping glaze is dependent on application preference, quantity of glazing and time. Mayco offers pre-made low fire clear glaze in both dipping and brushing formulas. Brushing clear glazes differ from dipping versions in that they contain organic additives, which make the brushing glazes thicker (viscous) than dipping formulas. These additives are meant to improve the flow of glaze from the brush and assist with the even-ness of application, enhancing the fired surface finish. The amount of glaze deposited on the ware is primarily a function of glaze viscosity and the number of applications. Typically 2 applications are required, allowing dry time between coats.

Dipping clear glazes contain fewer organic additives, making dipping glazes less viscous than their brushing counterpart. The amount of glaze deposited on the ware is a function of glaze viscosity and the amount of time left in the glaze. Often dipping glazes are preferred in a studio or production environment where a large quantity of ware is processed. To learn different dipping methods and tips, view our instructional video in YouTube.

Q: What does coefficient of expansion (COE) mean and how does it impact my choices of glazes, clay or bisque?

A: Glaze and clay/bisque bodies are both ceramic materials. During the firing process they expand and then contract together; the rate of expansion/contraction can be measured and mathematically stated as a coefficient of expansion.

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

Cone 06: Squash Yellow will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

Cone 06: Sand will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

Cone 06: Peach will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

Cone 06: Jet Black will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: No color change. Finish develops a soft sheen. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

Cone 06: Harvest Gold will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cone 06: China White will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.

Cone 6: No change. Recommended clear glaze is SW-001 Stoneware Clear.

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

Cone 06: Cinnamon will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Finish develops a soft gloss. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

Cone 06: Blush will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

Cone 06: Crimson will fire matte without addition of a clear glaze. To intensify color or for use on dinnerware, apply clear or matte clear glaze.
Cone 6: Color concentration occurs. Recommended clear glaze is SW-001 Stoneware Clear.

Classic & Timeless  

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

General Use

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

Application Recommendations

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

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

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

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

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

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

• Underglazes can also be applied by sponging and spattering. 

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

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

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

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

Usage Variations and FAQs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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