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Published Jan 25, 2017

scypta-695Lindsay Scypta's pots are intricately textured with stamps and sprigs and glazed with runny glazes that enhance these textures beautifully. All of this requires careful planning, which begins when the pots are still on the wheel.

In today's post, an excerpt from the Ceramics Monthly archive, Lindsay explains her glazing process and shares one of her Cone 6 glaze recipes. - Jennifer Poellot Harnetty, editor

Layering Glazes for Spectacular Results

Glazing begins when the pots are still on the wheel. I throw with my glazes in mind, leaving room to trim a generous foot skirt, which will catch my runny glaze.

Once bisque fired, I go over the foot skirt, rims, and handles with a 3M fine-grit sanding sponge (1). I am careful to feel for any sharp edges around the body of the piece as my stamping process can create small burrs. After a quick damp-sponge wipe down to remove the dust, I’m ready to get glazing!

To keep my brain from exploding, I have limited my glaze choices to green matte, white matte, and brown matte glazes, along with one clear liner glaze. I have smaller containers of accent glazes. If time allows, I line all the pots’ interiors the night before with a clear glaze to allow appropriate time for drying. This is when I write my decision about color in pencil on the pot

Once the pieces are dry, I come back with a squeeze bottle and trail a thick, shiny, purple glaze in the desired areas (2) followed by a green shiny glaze, which I usually brush on (3).

Lastly, I dip the entire exterior of the piece in a matte glaze. I’ve discovered that the combination of a dry matte glaze and a shiny glaze creates movement—but be careful, I’ve had many pots stick to shelves in the process of developing this glaze combination.



Lindsay Scypta is a studio potter and adjunct professor at Owens Community College in Toledo, Ohio. To see more of her work, visit Follow Scypta on Facebook ( and Instagram (@lindsayscypta).

**First published in December 2014