Finishing Details: The Intricate Glazing Techniques of Lindsay Scypta


Lindsay 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 archives, Lindsay explains her glazing process and shares one of her Cone 6 glaze recipes. – Jennifer Harnetty, editor.

Layering Glazes for Spectacular Results

by Lindsay Scypta

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!

The ceramic surface is one of the most versatile outlets for creativity. It allows you to add personal touches at any stage of the process. The sky’s the limit! In Surface Decoration Techniques more than 30 professional artists with decades of experience share a wide variety of surface projects—from carving, etching and sgraffito, to layers, inclusions, and textures! If you’re looking for instruction and information to improve your decorative skills in the clay studio, this book provides enough of everything to keep you inspired for years to come.


2_Photo-Oct-07,-10-49-50-AMTo 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.


scyptaturqglazeLindsay 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

Leave a Reply

You must be logged in to post a comment.

Enter Your Log In Credentials
This setting should only be used on your home or work computer.

Larger version of the image
Share via
Send this to a friend