Glazing with Duncan Renaissance Glazes – Part One: Antique Celadon


Hello! Welcome to my new blog series on glazing tips.

I’m starting with Duncan Renaissance Glazes. I love these glazes! I stumbled across them a while ago, I don’t remember when exactly, and I don’t remember how I found them, but I’m so glad I did. They’re user-friendly, they brush on so easy. I like glazes that are easy to use and consistent, and this glaze is one of them.

These glazes vary, depending on the thickness you use, whether it has texture or not, and how much texture it has. The more texture, the better it looks. Where you place it in the kiln, makes a difference also. Pieces placed at or near the bottom of the kiln are greener, darker and react more with the texture. The pieces at or near the top of the kiln are lighter and don’t usually have a rustic look. I also think it depends on the brushes you use as well.


I use fan brushes for most of my pieces. I use a small brush for the rims, edges and for detail work. For small pieces like ornaments, I use a small fan brush or a small brush, when I run out of clean fan brushes.

As you can see from the photo above, my bird ornament is lighter than my birdie bowl. It has less texture then the birdie bowl, there are several areas on the ornament that have no texture at all, verses the birdie bowl which is completely covered with texture and it was placed at the top of my kiln.

Before I start glazing, I apply wax resist on the bottom of my ornaments, and then I go up the sides just a little, so the glaze doesn’t go all the way to the bottom. I apply three light coats on the top only, and two light coats on the sides. I don’t want any drips or any ornaments sticking to my shelves. When I fire my ornaments. I place them on kiln stilts to raise them up off the shelf.


I apply wax resist to the bottoms of my birdie bowls. Then brush on three coats of glaze on the top, and bottoms except for a small area where the wax resist is. I have several sizes of fan brushes and usually use one of the smaller ones. Then I use a regular small brush for the edges.


As you can see from this photo, the green bird ornaments all look-alike for the most part. The butterflies look darker…they have more texture, and they were placed toward the bottom of my kiln.


This photo shows you the difference between a textured surface verses a non-textured surface and kiln placement. The small bowl at the top of the photo was placed at the bottom or near the bottom  and has no texture. The leaf bowl was placed near the top of my kiln and has a little texture.

This is what the glaze looks like on my non-textured ruffle rim bowls. The bottoms were waxed with wax resist and then three coats were applied to the bottoms, inside and rims. They were placed near the bottom of my kiln.

This heart dish was glazed with three coats of glaze on the bottom and top, using a smaller fan brush, and three coats on the sides/edge with a small brush, after it was waxed, like the birdie bowls. This one looks like it was placed near or at the top of my kiln.

The green leaf magnets were glazed like my bird ornaments, three light coats on the top and two coats on the sides. They were fired toward the top of my kiln, see how light they are. The maple leaves were glazed with three coats and are usually placed in the middle of my kiln.

This is one of my handmade dinnerware collections called Lake House, formally known as Brooklawn Park. This glaze loves texture, it makes Lake House look fabulous!

Each piece is slightly different, and completely covered in texture.

I use a large fan brush on the plates and a medium size one for the bowls. They all have three coats of glaze on the bottom (except where I waxed with wax resist), and the top and I apply three coats on the rims with a small brush.

This is another one of my handmade dinnerware collections called Tropical Breeze. They’re glazed just like Lake House, three coats on all sides. But it looks different. The glaze pools in between the raised lines.

Vintage Cottage is another one of my handmade dinnerware collections. As you can see from the photo, the plates were fired near the bottom of the kiln and the bowl was fired near the top. The plates are more rustic looking. I love this glaze!

I hope this has been helpful.

I think part two will be – Vintage Blue

Thanks for stopping by, see you next time! 

Glazing The Moon!


How I glaze…The Moon!


When I first started making this dinnerware, I hadn’t planned on calling it…The Moon. I was actually thinking of a beachy-coastal theme, especially since I use a sea urchin to produce this texture. But when my husband first saw it, he said. “It looks like the moon.” So I went with it. It didn’t take very long to come up with some names like…New Moon, Full Moon, Moon Dust, Harvest Moon, Moon Shadow and Once Upon a Blue Moon. And I didn’t even have to buy new glazes, I already had everything I needed.


All the underglazes and glazes I need for this firing, are lined up for easy access. My brushes, and everything else I need is at my fingers tips.


I place old towels on my table to protect my pottery, it gives it a little cushion, and I don’t want to get wax on my table. It’s so much easier to clean up too. I just roll up the towels and throw them in the washing machine when I have a load. Now I’m ready to wash my plates.


I use distilled water for washing all of my pottery and for glazing. The reason I use distilled water, is because we have well water. There’s a lot of iron and lime in our water, and I don’t want it to affect my glazes.


The plates are all washed and drying. Once they dry, I’ll apply black underglaze to the bottom of the plates.


I use a small brush to apply the underglaze, so I can get inside all the cracks and crevices.


One coat is done, two more to go!


After all three coats are applied, I let them dry really well.


This is the part I’m not to crazy about! Washing (scrubbing) the black underglaze off and leaving it only in the cracks and crevices. I can’t even tell you how many times I need to change the water, or how long it takes! Lets just say, it’s a lot of work.


One more to go…Yay!


After all that scrubbing, here they are! All cleaned up and ready for waxing!


Once the wax is applied to the bottom of the plates, and they are completely dry. They’re ready for glaze. I use a fan brush to apply the glaze on the top of the plates, and a round sable brush for the rim.


And after three coats of glossy black glaze, they’re ready to load in my kiln.


This is what the bottom of the plates look like after they are fired. I love the way they look and feel!


And here they are…all finished!

I’ve been thinking about doing these in the beachy-coastal theme I was telling you about before. Creamy off white clay with beachy colors. What do you think?