To me, a huge appeal of pottery is the element of play. If I get to keep a tangible receipt of a moment in time, of curiosity and flow, or that exploration of “What will happen if I do this?” then that is a bonus. It is also a bonus to see other people lean into a place of wonder and exploration, so I hope this sparks a moment of joy and creativity for you as well.
Inspiration and Curiosity
I am still quite new to the world of pottery, picking up information as I go and figuring things out via trial and error. Potters can be an incredibly passionate bunch when it comes to the technical side of things, but I am just sharing what I have found works for me in my own practice.
I was first introduced to engobes by my studio mentor, who suggested it for an earlier project where I was searching for a reliable, solid matte finish. While working with it, I remember watching the raw engobe and stain mix together and start to marble in the container. It led me to explore in a complete flow state, being unbothered by the outcome. Some tests failed, but I kept playing to see if I could capture that organic marbling and fluid movement.
Materials and Engobes
Before you begin, gather your materials including a bisque-fired piece, a pre-mixed (and recently stirred) engobe, ceramic stain (your color choice), some mixing bowls, a shallow tray, a teaspoon, a scale, and a towel for cleaning up any splashes (1).
I use an engobe specifically formulated to fit on bisqueware. You can easily find a bisque engobe recipe online (or see the recipes on page 7) that will work best with your specific clay and firing temperature. Alternatively, you can check out your local pottery supply store for a commercial engobe that specifically mentions its suitability for bisqueware. The great benefit to a bisque engobe is that it can be applied directly to bisqueware, making it easier to handle, and it can be washed off and reapplied once it’s fully dry.
To create a colored engobe, measure 100mL of the base engobe and place it in its own bowl. Wearing a dust mask, mix 3 grams of colored stain into the 100mL of engobe (2). Gently stir until the powder is fully incorporated (3).
Experimentation
Drop a teaspoon of colored engobe into the base engobe from about 12 inches (30 cm) above the mixture (4). Gently dip or drag your bisque-fired piece through the mixture (5).
Originally, the plan was to marble both the colored and base engobes together. However, as I dropped the colored stain into the shallow tray, it created a beautiful splatter pattern on the surface. I was unsure if that delicate, floating pattern would transfer directly onto the thirsty bisque-fired piece. It did not, but what it did create was just as interesting. Dipping caused the water tension to break, and as the bisqueware pulled the moisture in, the pigment stretched into delicate, silky veins, almost like cracked glass (6).
For larger pieces, I dragged them through the mixture and was captivated by the intricate patterns reminiscent of rolling scenery, all of the lines different but working in harmony.
As I continued playing, I realized that the shape of the piece completely changes how the pattern behaves. Flat surfaces, such as plates, are a great canvas for the dipped ‘supernova’ look. Curved forms, like mugs, are where the dragging technique allows the pattern to wrap around the clay, moving with the contours of the piece. It is tricky to coat the neck or any narrower sections using a dip or drag method. Generally, it is easiest to marble only to the widest part of your piece.
Because engobe doesn’t have as much flux as a traditional glaze, it doesn’t run or slide down the vertical face of a piece, meaning your intricate dragged lines won’t morph or move.
Troubleshooting
I experimented with various percentages of colored stain and found that 3 grams of stain to 100mL of engobe worked best. More stain made the color too intense and masked some of the intricate details.
I found that one single layer works best.
If your engobe doesn’t glide smoothly when you tilt the container, then it’s too heavy and will likely peel or crawl during the glaze fire. Aim for a consistency between milk and light cream, just enough to leave a trace on the surface.
Clear glaze should be applied only after the engobe is completely dry to avoid it cracking off.
Managing Leftovers
I store the leftover mixture in an airtight container for later use. If the mixture becomes muddy, add more stain to create a solid color, or pour the leftover marbled mixture over another piece.
There are endless possibilities to explore with this technique, and I hope you enjoy discovering them as much as I do.
Based in Victoria, Australia, Natalie Selleck pivoted to ceramics after a career in photography, bringing a keen visual eye to the tactile arts. In her studio practice, she focuses on capturing fluid, organic movement on stoneware forms. She loves sharing her discoveries to inspire fun, curiosity, and play in other makers.
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To me, a huge appeal of pottery is the element of play. If I get to keep a tangible receipt of a moment in time, of curiosity and flow, or that exploration of “What will happen if I do this?” then that is a bonus. It is also a bonus to see other people lean into a place of wonder and exploration, so I hope this sparks a moment of joy and creativity for you as well.
Inspiration and Curiosity
I am still quite new to the world of pottery, picking up information as I go and figuring things out via trial and error. Potters can be an incredibly passionate bunch when it comes to the technical side of things, but I am just sharing what I have found works for me in my own practice.
I was first introduced to engobes by my studio mentor, who suggested it for an earlier project where I was searching for a reliable, solid matte finish. While working with it, I remember watching the raw engobe and stain mix together and start to marble in the container. It led me to explore in a complete flow state, being unbothered by the outcome. Some tests failed, but I kept playing to see if I could capture that organic marbling and fluid movement.
Materials and Engobes
Before you begin, gather your materials including a bisque-fired piece, a pre-mixed (and recently stirred) engobe, ceramic stain (your color choice), some mixing bowls, a shallow tray, a teaspoon, a scale, and a towel for cleaning up any splashes (1).
I use an engobe specifically formulated to fit on bisqueware. You can easily find a bisque engobe recipe online (or see the recipes on page 7) that will work best with your specific clay and firing temperature. Alternatively, you can check out your local pottery supply store for a commercial engobe that specifically mentions its suitability for bisqueware. The great benefit to a bisque engobe is that it can be applied directly to bisqueware, making it easier to handle, and it can be washed off and reapplied once it’s fully dry.
To create a colored engobe, measure 100mL of the base engobe and place it in its own bowl. Wearing a dust mask, mix 3 grams of colored stain into the 100mL of engobe (2). Gently stir until the powder is fully incorporated (3).
Experimentation
Drop a teaspoon of colored engobe into the base engobe from about 12 inches (30 cm) above the mixture (4). Gently dip or drag your bisque-fired piece through the mixture (5).
Originally, the plan was to marble both the colored and base engobes together. However, as I dropped the colored stain into the shallow tray, it created a beautiful splatter pattern on the surface. I was unsure if that delicate, floating pattern would transfer directly onto the thirsty bisque-fired piece. It did not, but what it did create was just as interesting. Dipping caused the water tension to break, and as the bisqueware pulled the moisture in, the pigment stretched into delicate, silky veins, almost like cracked glass (6).
For larger pieces, I dragged them through the mixture and was captivated by the intricate patterns reminiscent of rolling scenery, all of the lines different but working in harmony.
As I continued playing, I realized that the shape of the piece completely changes how the pattern behaves. Flat surfaces, such as plates, are a great canvas for the dipped ‘supernova’ look. Curved forms, like mugs, are where the dragging technique allows the pattern to wrap around the clay, moving with the contours of the piece. It is tricky to coat the neck or any narrower sections using a dip or drag method. Generally, it is easiest to marble only to the widest part of your piece.
Because engobe doesn’t have as much flux as a traditional glaze, it doesn’t run or slide down the vertical face of a piece, meaning your intricate dragged lines won’t morph or move.
Troubleshooting
I experimented with various percentages of colored stain and found that 3 grams of stain to 100mL of engobe worked best. More stain made the color too intense and masked some of the intricate details.
I found that one single layer works best.
If your engobe doesn’t glide smoothly when you tilt the container, then it’s too heavy and will likely peel or crawl during the glaze fire. Aim for a consistency between milk and light cream, just enough to leave a trace on the surface.
Clear glaze should be applied only after the engobe is completely dry to avoid it cracking off.
Managing Leftovers
I store the leftover mixture in an airtight container for later use. If the mixture becomes muddy, add more stain to create a solid color, or pour the leftover marbled mixture over another piece.
There are endless possibilities to explore with this technique, and I hope you enjoy discovering them as much as I do.
Based in Victoria, Australia, Natalie Selleck pivoted to ceramics after a career in photography, bringing a keen visual eye to the tactile arts. In her studio practice, she focuses on capturing fluid, organic movement on stoneware forms. She loves sharing her discoveries to inspire fun, curiosity, and play in other makers.
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