Pottery Glazing Guide: How to Choose and Apply Glazes for Beginners

The first time I stood in front of my pottery studio's glaze shelves, I felt completely overwhelmed. There were so many buckets and jars of glaze, each with cryptic names like "Oribe Green" and "Shino" and mysterious test tiles showing how they'd look after firing on 20 different clays. I had no idea where to start, and I was terrified of ruining the mug I'd spent weeks perfecting on the wheel.

That mug, by the way, came out a puke green. Needless to say, that is not what I expected nor wanted. My friend, on the other hand, absolutely loved the oozy green. The glaze I chose looked pale red in the bucket but fired to a green. I was simultaneously disappointed and fascinated – welcome to the wild, unpredictable world of pottery glazing.

Eighteen months later, glazing is still not one of my favorite parts of the pottery process but I've at least learned to navigate it somewhat reliably. Yes, it's still unpredictable, and yes, I still get surprised by results, but I've learned to embrace that element of mystery. Let me share what I wish someone had told me about pottery glazing when I was starting out.

What Is Pottery Glazing Really?

Glazing isn't just painting your pottery – though that's what I thought initially. Glazes are actually liquid suspensions of minerals that melt during firing and form a glass-like coating on your ceramic pieces. The chemistry is fascinating and complex, but you don't need to understand silica ratios to create beautiful glazed pottery.

What you do need to understand is that glazes transform completely during firing. That muddy brown glaze? Might fire to a brilliant red. That boring gray? Could become a stunning blue. The glaze you apply is almost never the color you'll get after firing, which is simultaneously the most frustrating and most exciting aspect of pottery glazing.

The Bisque Firing First

Before we even talk about glazing, your pottery needs to go through bisque firing – the first firing that transforms raw clay into porous ceramic. This typically happens at around 1800°F and takes your pieces from fragile greenware to durable bisqueware.

I remember being shocked when I picked up my pieces after bisque firing. They felt completely different – hard, slightly rough, and they made this distinctive ceramic "clink" sound when tapped. Bisqueware is still porous enough to absorb glaze, but strong enough to handle without worrying it'll collapse.

Most pottery studios handle bisque firing for you and let you know when pieces are ready for glazing. This is usually about a week after you finish making them, depending on the studio's firing schedule.

Understanding Glaze Types

Pottery studios typically organize glazes by firing temperature and surface finish. Here's what those categories actually mean:

By Temperature

Low Fire Glazes (Cone 04-06): These fire around 1800-2000°F and tend to have brighter, more vibrant colors. They're popular for decorative pottery but aren't as durable for functional pieces. I rarely use these since my studio primarily does mid-range firing.

Mid-Range Glazes (Cone 5-6): Firing around 2200-2300°F, these are the workhorses of most pottery studios. They're durable enough for everyday use and offer a wide range of colors and effects. This is what I use for everything from coffee mugs to serving bowls.

High Fire Glazes (Cone 10): These fire at 2300-2400°F and create incredibly durable surfaces. Many traditional pottery techniques use high fire glazes, though not all studios have kilns that reach these temperatures.

By Surface Finish

Glossy Glazes: These create smooth, shiny surfaces that show colors vividly. They're my go-to for functional pottery because they're easy to clean and food-safe.

Matte Glazes: These fire to a soft, non-reflective finish. They can be beautiful and sophisticated but sometimes feel slightly rough to the touch. Because of that, many people use these more for decorative pieces. But I like the look of them on the outside of functional wares.

Satin Glazes: The middle ground between glossy and matte. These have a subtle sheen without being mirror-shiny. They're great for pieces where you want some visual interest without too much shine.

Specialty Finishes: This includes crystalline glazes, crater glazes, and other dramatic effects. These are fun to experiment with but can be unpredictable.

How to Choose Your First Glazes

When I started glazing pottery, I made many mistakes and ruined several pieces. That is probably the first lesson of pottery - don't get too attached to something until it's 100% complete! Here's what I learned:

Always Check the Test Tiles

Every pottery studio should have test tiles showing how glazes actually look after firing. These are your best friends. The glaze in the jar might look like chocolate pudding, but the test tile shows you it fires to a beautiful amber. Plus it matter what clay body you are using. A glaze may look totally different on light clay versus a dark clay.

I now photograph test tiles with my phone so I can reference them while planning glaze combinations. Some studios have catalogs, but honestly, nothing beats seeing the actual fired result on the clay body you're using.

Start with Studio Favorites

Most pottery studios have a few glazes that everyone loves and uses constantly. There's usually a reason for this – they're reliable, they look good, and they behave predictably. Ask your instructor or fellow students which glazes they recommend for beginners.

At my studio, there's a glossy blue that almost everyone uses on their first pieces. It's forgiving, it looks exactly like the test tile, and it never does anything weird. Starting with reliable glazes builds confidence before you experiment with trickier options.

Consider Your Piece's Function

For functional pottery like mugs, bowls, and plates, you want food-safe glazes with durable finishes. Glossy glazes are typically easier to clean and less likely to harbor bacteria in their surface.

For decorative pieces, you have more freedom to experiment with unusual finishes, but remember that very rough matte glazes can collect dust and be difficult to clean.

Preparing Pottery for Glazing

Before you start applying glaze, your bisqueware needs to be clean. I learned this the hard way when I glazed a piece without wiping it down first, and the dusty spots created these weird bare patches where glaze didn't adhere.

Wipe down your pieces: Use a slightly damp sponge to remove any dust or debris from bisque firing.

Check for chips or cracks: Sometimes pieces develop small chips during bisque firing. You can usually glaze over these, but it's good to know they're there.

Handle carefully: Bisqueware is surprisingly sturdy, but it can still break if dropped.

Basic Glaze Application Techniques

There are several ways to apply pottery glazes, and each creates different effects:

Dipping

This is probably the most common glazing method and the one I use most often. You literally dip your pottery piece into a bucket of glaze, hold it for a few seconds, then pull it out.

What I learned about dipping:

• Work quickly and confidently – hesitation creates drips and uneven coverage
• Use tongs or glaze your fingers (the glaze washes off hands easily)
• Count to three while the piece is submerged for consistent glaze thickness
• Tilt the piece slightly when pulling it out to avoid creating a thick rim where glaze pools

My first dipped bowl had this thick, uneven rim because I pulled it straight up and let glaze pool at the top. Now I tilt pieces as I remove them from the glaze bucket, and the coverage is much more even.

Pouring

For pieces that are too large or awkwardly shaped to dip, you can pour glaze over them. This works especially well for the insides of tall vessels.

Pouring technique I use:

• Set the piece over a bucket or basin to catch excess glaze
• Pour steadily and evenly, rotating the piece to ensure full coverage
• Work over a surface that can get messy – glaze drips everywhere
• Return the excess glaze to the bucket (don't waste it!)

Brushing

Brushing glaze on feels more like painting, and it's great for detailed work or combining multiple colors on one piece.

Brushing challenges:

• You typically need 2-3 coats for proper coverage
• Brush strokes can be visible unless you work carefully
• It's slower than dipping but offers more control
• Use proper pottery glaze brushes, not regular paintbrushes

I brush glaze when I want specific areas to be different colors or when I'm doing detailed design work. For simple, single-color coverage, dipping is faster and more consistent.

Spraying

Some pottery studios have spray booths for applying glazes with spray guns. This creates incredibly even coverage and beautiful gradients, but requires specialized equipment and proper ventilation. I was lucky enough that my studio had a spray booth with all the proper equipment. I used it a few times, and it's fun but definitely more advanced and takes practice to get it just right.

Combining Glazes and Layering

This is where glazing gets really exciting and really unpredictable. Some glazes interact beautifully when layered, creating colors and effects neither glaze produces alone. Others just create muddy brown disasters.

My layering experiments:

I once layered a clear glaze over a blue glaze expecting it to just look like glossy blue. Instead, the clear glaze reacted with the blue and created these gorgeous darker spots and variations. Pure accident, completely beautiful.

Another time, I layered two matte glazes that the test tiles showed would create a nice variegated effect. On my piece, they just looked muddy and weird. Not every experiment works out.

Tips for successful layering:

• Check if your studio has layering test tiles showing specific combinations
• Apply the first glaze thinner than usual
• Let the first glaze dry completely before applying the second
• Start with recommended combinations before getting too experimental
• Document your experiments so you can replicate successes

The Wax Resist Technique

Wax resist is a simple but effective way to create designs on your pottery. You paint wax (special pottery wax, not candle wax) onto areas where you don't want glaze to stick.

I use wax resist most commonly on the bottom of pieces. You always have to leave the very bottom unglazed (or it'll stick to the kiln shelf during firing), and wax makes this much easier than trying to keep that area glaze-free during dipping.

Creative wax resist uses:

• Creating patterns by painting wax designs before glazing
• Leaving decorative areas unglazed to show the clay body
• Creating two-tone effects by waxing, glazing, removing wax, then applying a second glaze

The wax burns off completely during firing, leaving clean, unglazed areas exactly where you placed it.

Common Glazing Mistakes (I've Made Them All)

Too Thick Application

My third or fourth glazed piece ran terribly in the kiln. The glaze was so thick it dripped down onto the kiln shelf during firing, and the studio had to grind the bottom of my bowl to separate it from the shelf. So embarrassing.

The lesson: Follow your studio's guidelines for glaze thickness. Most glazes should look opaque on the bisqueware but not gloopy. When in doubt, thinner is safer than thicker.

Glazing the Bottom

Yes, I did this. I was so focused on getting complete coverage that I glazed the entire piece, including the bottom. The studio instructor caught it before firing (thankfully) and showed me how to wipe the bottom clean.

Why this matters: Glaze melts during firing and becomes glass-like. If the bottom is glazed, your piece will permanently fuse to the kiln shelf. Always leave the bottom unglazed or use kiln stilts if your studio allows them. Kilns and kiln shelves are expensive! You don't want to be in the habit of buying replacements for your studio.

Mixing Incompatible Glazes

Not all glazes play nicely together. Some combinations create beautiful effects, others create chemical reactions that bubble, crawl, or just look terrible.

I once combined two glazes that seemed like they'd complement each other – a soft green and a cream color. The result was this weird mottled brownish mess that looked nothing like I'd imagined. Always check with instructors about glaze compatibility before mixing.

Rushing the Process

Glazing requires patience. If you apply a second coat before the first is dry, you'll lift off the first layer and create bare spots. If you handle pieces before the glaze is set, you'll leave fingerprints.

I'm naturally impatient, so this has been a hard lesson. I've learned to glaze in stages – do the outsides one day, let them dry, then do the insides another day. It's slower, but the results are much better.

The Waiting Game: Glaze Firing

After you finish glazing, your pottery goes into the kiln for glaze firing. This is where the magic happens – and where you have absolutely no control over the outcome.

Glaze firing typically takes 8-12 hours, then the kiln needs to cool slowly for another 12-24 hours before it can be opened. Most studios fire once per week, so you're usually waiting 1-2 weeks between glazing and seeing your finished pieces.

This waiting period is simultaneously exciting and nerve-wracking. You've done all the work, made all the decisions, and now you just have to trust that the glazes will do what they're supposed to do.

Opening the Kiln (or picking up your pieces off the finished shelf): Managing Expectations

Kiln opening day at most studios is like Christmas morning. Everyone gathers around as the pieces are carefully removed from the cooled kiln. There are gasps of delight, occasional groans of disappointment, and lots of excited chatter about unexpected results.

What I've learned about kiln opening:

Some pieces exceed expectations. That mug you weren't sure about? Stunning. The glaze combination you worried about? Perfect. These successes are worth celebrating.

Some pieces disappoint. The glaze that looked beautiful on the test tile doesn't work with your piece's form. The color isn't quite what you imagined. This happens to everyone, even experienced potters.

Some pieces surprise you completely. The glaze behaved differently than expected, or the firing created unexpected variations, and suddenly you have something completely different from what you planned – sometimes better, sometimes worse.

The key is approaching kiln opening with curiosity rather than rigid expectations. I've learned to be excited about surprises, even when they're not what I planned.

Glaze Defects and Problems

Sometimes glazes don't behave properly, creating various defects. Understanding these helps you troubleshoot:

Crazing: Fine cracks in the glaze surface caused by glaze and clay expanding at different rates. Sometimes it's decorative, sometimes it's a problem (especially for functional pottery).

Crawling: Glaze pulls away from the clay body during firing, leaving bare patches. Usually caused by dusty bisqueware or oily fingerprints on the surface.

Pinholing: Tiny holes in the glaze surface, often caused by air escaping from the clay body during firing.

Running: Glaze that was applied too thickly drips down the piece during firing, sometimes fusing it to the kiln shelf.

Blistering: Bubbles in the glaze surface that didn't smooth out during firing, creating rough spots.

Most of these are preventable with proper technique, but sometimes they happen even when you do everything right. That's just pottery.

Developing Your Glazing Style

After months of glazing pottery, you'll start developing preferences and recognizing what works for you:

Color preferences: I've discovered I'm drawn to blues and greens and layering and variations. My pottery shelf at home is mostly greens, blues, and creams with the occasional brown accent.

Surface preferences: I generally prefer matte glazes but I am a fan of putting glossy glazes inside of mugs, bowls, or plates. It makes them easier to clean. But it's up to you to decide what you prefer.

Complexity preferences: Some potters love elaborate layered glaze combinations with multiple colors and techniques. I personally love experimenting with layering and overlapping, but some tend toward simpler glazing that lets the pottery form shine. For me it usually depends on how complicated the form and whether I carved the surface of the form for texture.

There's no right answer – it's about discovering what resonates with you aesthetically and functionally.

Food Safety and Functional Pottery

If you're making functional pottery for eating or drinking, glaze safety matters. Most commercial pottery glazes are formulated to be food-safe when properly fired, but you should verify this:

Questions to ask your studio:

• Are these glazes food-safe when fired to the correct temperature?
• Are there any glazes I should avoid for functional pieces?
• What firing temperature is required for food safety?

Some glazes that are beautiful aren't suitable for items that will hold food or drink. I made this mistake on a tumbler I made. I wanted to use the green glaze labled "Avocado". Turns out, that glaze had lead in it so definitely not food safe! So instead of a tumbler, I have a green pencil holder. When in doubt, ask. I mark my test tiles with "food safe" or "decorative only" so I don't accidentally use the wrong glaze on a mug.

Finding Your Glazing Confidence

Glazing pottery intimidated me for months. I stuck with safe, predictable glazes because I was afraid of ruining pieces I'd worked hard to create. Eventually, I realized that playing it safe meant missing out on the joy of experimentation.

Now I approach glazing with more playfulness. Sure, some experiments fail, but some create unexpectedly beautiful results. That element of surprise and discovery is part of what keeps pottery exciting.

My glazing philosophy now:

• Test new glazes on pieces I'm less attached to
• Take notes and photos to remember successful combinations
• Embrace unexpected results as learning opportunities
• Save at least some pieces for experimenting rather than always playing it safe
• Remember that even "failed" pieces teach valuable lessons

Taking Pottery Glazing Classes

If you really want to dive deep into pottery glazing, some studios offer specialized glazing workshops that go beyond basic application techniques:

Glazing workshops might cover:

• Glaze chemistry and formulation
• Advanced application techniques
• Creating custom glaze combinations
• Alternative firing methods (raku, soda firing, wood firing)
• Decorative techniques like mishima, sgraffito, or slip trailing

I haven't taken a formal glazing workshop yet, but it's on my list. Understanding more about why glazes behave the way they do would definitely help me troubleshoot problems and create more intentional results.

Find glazing classes near you: Check out FindAPotteryClass.com to discover pottery studios offering glazing workshops and classes. Filter by technique to find studios that specialize in surface decoration and glazing instruction. If you need guidance on how to find the best studio near you, read my article on how to find the best pottery classes near you. Or if you're curious about the typical cost for a glazing workshop, check this article out.

The Joy of Glazed Pottery

Despite the unpredictability and occasional disappointments, glazing can be one of the best parts of making pottery. There's something magical about transforming a plain bisque piece into something colorful, glossy, and finished.

Every time I open my cabinet and see the mugs and bowls I've made and glazed, I feel this little spark of pride. Yes, some turned out better than others. Yes, some colors surprised me. But they're all uniquely mine, created by my hands from start to finish.

The unpredictability that initially frustrated me has become part of the appeal. I love that moment of visiting the finished work shelf and discovering how glazes actually fired. Sometimes it's exactly what I expected, sometimes it's completely different, but it's always interesting.

Starting Your Glazing Journey

If you're about to glaze pottery for the first time, here's my advice: start simple, study those test tiles like they're sacred texts, and embrace the mystery. Don't expect perfection from your first glazed pieces – focus on learning how glazes behave and what effects you can create.

Ask questions. Lots of questions. Experienced potters and studio instructors can share insights that will save you from many mistakes I made. Most pottery people love talking about glazes and are happy to share their knowledge.

Document your results. Take photos of pieces before and after glazing, note which glazes you used and how you applied them. This record becomes invaluable as you develop your glazing skills and style.

Most importantly, remember that glazing is part art, part science, and part luck. Even master potters get surprised by glaze results sometimes. That unpredictability is part of what makes pottery endlessly fascinating.

The clay is shaped, the bisque firing is done, and those shelves of mysterious glazes are waiting for you. Trust the process, embrace the surprises, and enjoy the transformation that happens in that magical kiln firing.