Learn About Potter’s Choice Glazes
Please continue to scroll down for entire page or follow these quick links: Potter’s Choice Color Chart | Potter’s Choice Class Packs Color Chart | Potter’s Choice Glaze Application (PDF download) | Potter’s Choice History | Layering Potter’s Choice Glazes
Click here for Layering Potter’s Choice Glazes.
Click here for Potter’s Choice Glaze Application.
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Lead Free Cone 5-6 “PC” Potter’s Choice High Fire Glazes for Bisque
Potter’s Choice Glazes are available in liquid pints, gallons, and pint class packs as well as in 25 lb. dry.
NON-TOXIC |
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PC-29 [TP] |
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PC-52 [TP] |
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PC-59 [TP] |
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PC-12 [O] 
(CL) Lead Free Glazes Restricted from Use K-6 (ASTM D-4236/LHAMA)
Conforms to |
PC-1 [O] |
PC-2 [O] |
PC-4 [O] |
PC-25 [O] |
PC-40 [TP] |
PC-41 [O] |
PC-42 [O] |
PC-46 [O] |
PC-49 [O] |
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LEAD FREE Non-Toxic Class Packs K-6
Potter’s Choice (PC) Glaze Class Pack No. 1—6 Colors (39182X)
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PC-20 |
PC-30 |
PC-35 |
PC-32 |
PC-50 |
PC-60 |
Potter’s Choice (PC) Glaze Class Pack No. 3—6 Colors (39227G)
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PC-52 |
PC-29 |
PC-34 |
PC-12 |
PC-27 |
PC-37 |
Potter’s Choice (PC) Glaze Class Pack No. 4—6 Colors (39225F)
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PC-59 |
PC-33 |
PC-43 |
PC-23 |
PC-28 |
PC-39 |
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LEAD FREE Class Packs 7-12
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Potter’s Choice (PC) Glaze Class Pack No. 2—6 Colors (39219X)
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PC-36 |
PC-55 |
Restricted from Use K-6 (ASTM D-4236/LHAMA)
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PC-2 |
PC-25 |
PC-42 |
PC-46 |
Potter’s Choice Glaze Application
These glazes need to be applied at a certain thickness to bring out their true beauty. (This is a concern for both brushing and dipping glazes.) Although simple in concept, applying the correct glaze thickness is difficult to convey.
AMACO® tells users to apply 3 coats (unless noted on the label) of glaze to ware. Unfortunately, everyone naturally applies different thicknesses in a coating with very different results.
The following tiles should allow users to see if they have applied the glaze too thick or too thin. (As a general rule we find that most people who are having issues with artistic glazes seem to be applying glaze on the light side.)
The first tile in the set is a thin application. The second tile is slightly on the thin side and the third is slightly on the heavy side. A good application (as intended) would be between tiles 2 and 3. (Obviously the final look to be achieved is up to the end user.)
We’ll break the Potter’s Choice glazes down into several groups which tend to react the same way.
Group 1. Typical Transparent or Opaque Glazes.
These glazes tend to be lighter in color and more translucent if applied too thin. (Although they may develop some pitting if applied too heavily, they will still look essentially as they were designed.)
Group 2. Artistic Float Glazes
These glazes need a certain thickness to float materials to the top surface of the glaze. This creates interest where the glaze pools in texture or drips. (If the glaze is applied too thinly, the glaze will not be able to float. The end result will be flat and probably an incorrect color.) The tiles show the float developing as the glaze is applied more heavily. Float makes these glazes perfect for layering. (Albany Slip can be very fluid if applied too heavily.)
Group 3. Artistic Heavy Float Glazes
The heavy float glazes are similar to the regular float glazes except that they float a full coverage of excess material which will actually crack on the surface float (and then heal over) showing contrast between the lighter floated material and the darker base color. If the glaze is not applied heavy enough, the float will not be thick enough to crack and show the contrast. The cracking float surface also makes these ideal for layering on top of other glazes. (A note of caution with these glazes: they are easily fumed by near-by pots that contain iron compounds or other volatiles. This can also create a beautiful look if desired but keep this in mind.)
Group 4. Metallic Float Glazes
As with all float glazes it is important to achieve a good thickness. The float in these glazes consists of metallic materials that give a reflective metal look. If the glaze application is thin, the surface will look splotchy and the metal film will look incomplete. (Note: Palladium tends to be fluid so feathering the glaze near the bottom of a piece is advised or leaving extra room for the glaze to flow. It also looks best on a tight porcelain body. Saturation Gold is a very touchy glaze that will take some trial to master; but can yield awesome results.)
Group 5. Odd’s and End’s
These glazes don’t really fit into any category. The Temmoku and Oil Spot don’t require any special care. They simply get darker with more thickness. The Salt Buff likes to be put on irregularly with between 2 and 3 coats. This property gives it a beautiful look around texture as the pooling of the glaze essentially creates its own irregular coverage. Shino requires a much thinner application as is stated on the bottle. It will in fact get a very rough boiling surface if applied too heavily.
Enjoy all these wonderful glazes and let us know if this information is helpful.
Steve Lampron
VP Technical Services
slampron@amaco.com
A Brief History of Our Potter’s Choice Glazes
George Debikey’s idea to develop the Potter’s Choice Glazes came from knowing there are certain types of glazes which potters seem to be attracted to: glazes like Temmoku, Shino, Celadon, Chun etc. These types of glazes are usually formulated to fire at cone 10/11 in a reduction atmosphere (in a gas firing kiln,) and are used to produce ware in an unlimited number of styles and techniques.
These glazes, which comprise the original Potter’s Choice Series were developed for cone 5 firing in an oxidation atmosphere (in an electric kiln). The original colors developed were PC-1 Saturation Metallic, PC-2 Saturation Gold, PC-20 Blue Rutile, PC-25 Textured Turquoise, PC-30 Temmoku, PC-32 Albany Slip Brown, PC-35 Oil Spot, PC-36 Ironstone, PC-40 True Celadon, PC-42 Seaweed, PC-46 Lustrous Jade, PC-50 Shino, PC-55 Chun Plum, and PC-Salt Buff.
This new method of producing these glaze effects saves in firing costs, and also gives an opportunity to potters who do not have a gas kiln and do not fire to cone 10/11.
When firing with standard reduction glazes, a lot of the effects achieved are left to chance—such as, where on the ware they happen, and how much special effects there is or isn’t. It all depends on the reduction atmosphere and the gas flame to give the interesting “flashes”, which can vary tremendously. With the PC Series glazes, the potter is in complete control.
Here is how George describes how to control them through their application:
It is recommended to run some fired tests before deciding to use them on an important piece. Apply them at different thicknesses, by brushing, dipping or spraying and see what effects you get from them.
PC-50 SHINO needs to be applied irregularly. Apply 2 irregular coats. You can produce the reduction type flashes where you apply it thicker on the piece, but do not exceed the two coats thickness. Spraying PC-50 Shino is also very proficient. You will need to spray a very thin irregular coat with heavier application on the areas of your piece where you would like to see the reduction type flashes. Most importantly; experimentation is the key to finding new effects that you can call your own. NOTE: Always wear a mask when spraying.
PC-60 SALT BUFF simulates salt glazing. Just like Shino, standard salt glazing special effects depend on the location of the piece in the kiln and the amount of salt it receives or where the gas flame touches it etc. However for the PC series controlled application by applying PC-60 Salt Buff thinly, no more than two irregular coats to achieve the random effects of salt glazing.
For most of the other glazes in the series, it makes a big difference and with better results, when you apply 4 coats instead of 3. However, since every person’s application is different, learn the exact effect you want to achieve by testing the glazes you plan to use before applying them to an important piece.
The glazing palette can be increased infinitely by glaze layering. The PC series glazes are excellent for layering. They react in combination with other glazes. Try them in combinations, one on top of the other and over or under glazes from other series, like the HF Sahara glazes or the HF Celebration glazes. The more combinations you test the more special effects you have.
The PC glazes work well on any of the AMACO stoneware or porcelain clay bodies, or any other suppliers’ high fire clay bodies. The glaze colors and final fired finish will be affected somewhat by the clay they are applied on. A dark body will give a darker look to the glaze, and the texture and transparency will look differently compared to a lighter color stoneware or porcelain. A small test on the bodies that you use will show you exactly how they will look before finishing your final piece.
In 2008, when George retired, Steve Lampron became Vice-President of Technical Services. Steve has continued developing glazes with George’s attention to beauty, authenticity and consistency.
The additions to the Potter’s Choice line expand on the concept of making cone 5-6 oxidation glazes have the feel of cone 10/11 reduction firings. The colors developed by Steve are: PC-4 Palladium, PC-12 Blue Midnight, PC-23 Indigo Float, PC-27 Tourmaline, PC-28 Frosted Turquoise, PC-29 Deep Olive Speckle, PC-33 Iron Lustre, PC-34 Light Sepia, PC-37 Smoked Sienna, PC-39 Umber Float, PC-41 Vert Lustre, PC-43 Toasted Sage, PC-49 Frosted Melon, PC-52 Deep Sienna Speckle, PC-53 Ancient Jasper, and PC-59 Deep Firebrick.
Here is how Steve describes these glazes:
A selection of rutile float glazes range from dark bold tones, like the PC-33 Iron Lustre, PC-12 Blue Midnight and PC-23 Indigo Float to softer, more earthy tones like PC-27 Tourmaline, PC-34 Light Sepia, PC-37 Smoked Sienna and PC-39 Umber Float. The glazes tend to flow some and the rutile float becomes very pronounced in textured areas where the glaze is allowed to pool and become heavier in application. Iron Lustre is a glaze that most users of Blue Rutile will find appealing and one of my favorites.
PC-43 Toasted Sage
is a subtle and elegant glaze with a warm sage color background intermingled with soft pink iron crystals. The beauty of this glaze is in the warmth it delivers to the viewer. Achieving red and orange glazes at cone 5 has become easier with improved encapsulated pigments.
PC-59 Deep Firebrick achieves a deep warm reddish color reminiscent of reds achieved in reduction firing, without that harsh, cold feel of many cone 5 reds.
PC-52 Deep Sienna Speckle likewise achieves a warm brownish-orange glaze intermingled with speckles that has depth and brilliance.
PC-29 Deep Olive Speckle is an unusual green that alludes to simpler times. The speckles add depth to this strong glaze which is enhanced on a speckled body by adding more interest to the depth.
PC-28 Frosted Turquoise and PC-49 Frosted Melon are very unique glazes with some qualities that can be exploited for additional interest. Heavy application of these glazes allows for a massive float which picks up just a touch of the glaze colorant with it as it forms a coating on top of the fired glaze. The coating cracks open and allows the darker tone of the glaze colorant to show through the cracks before it heals itself and smoothes out. The look is elegant with small slits of darker color showing through the white float. The soft float can be influenced dramatically with beautiful results by placing another pot near the glazed vessel that contains some iron compounds. The iron will volatilize in the kiln at cone 5/6 and fume the side of the pot allowing for some very naturally fumed looks often found in high fire work.
Interesting looks can be achieved with many of these glazes using TH-1 High Fire Texturizer as an accent coat over portions of vessel with a normal application of the PC base glaze. TH-1 is a very reactive float glaze that causes many unique transformations to the base glaze. Great appeal when applied on PC-12, 23, 33, 52 and 59 by brushing, sponging or spraying.
PC-4 Palladium, a cone 5-6 glaze is a brilliant shimmering silver colored metallic. It works well over most body colors and types, and can be used as a full glaze or as a decorative accent. Palladium is highly reflective and breaks a soft green tone over texture.
PC-41 Vert Lustre is a rich copper green that exhibits subtle float and a very lustrous glow. A slight hint of metallic float makes Vert Lustre have a stunning reflectance. This glaze is beautiful in combination with our TH-1 High Fire Texturizer.
PC-53 Ancient Jasper exudes the beauty and tones of ancient rock. Deep red tones, purples, yellows, browns, and black all intermingle in this glaze. Textural pieces allow Ancient Jasper to break up into a rainbow of rich tones which look like a combination of many different glazes.
Click here for Layering Potter’s Choice Glazes.
