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Home / Free video 2: How to add colour to a glaze

Free video 2: How to add colour to a glaze

Following on from the first free video (https://lindabloomfield.pro/free-video-1-how-to-make-a-glaze/), this video shows how to add colouring oxides to your glaze

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Important information

Everything is dishwasher and microwave safe, except for the handmade cake stands.

All the handmade pottery is made by Linda in her studio in west London. All the manufactured pottery is made to Linda's designs.

The porcelain clay is mixed in Stoke-on-Trent. It is fired to a high temperature in electric kilns and resists chipping or cracking.
The glazes are made in the studio and contain no lead or cadmium.
Glaze materials: feldspar, quartz, kaolin, calcium carbonate, dolomite, and borax frit from CTM potters supplies. Colourants: small amounts of rutile, copper oxide, nickel oxide, cobalt oxide, and tin oxide.

Exhibitions
  • Sarah Wiseman Gallery
  • Yorkshire Sculpture Park x Design Nation MADE showcase
Open studios
  • Artists at Home
Past exhibitions
  • Critical Clay, Form Gallery
  • Design Nation Our Journey at The Hub
  • Fresh Air Sculpture
  • Oeiras Ceramic Art
  • On Air at Ceramic Art London
  • Pathways Art Trail
  • Plates with Purpose, Messums West
  • Stone Lane Sculpture
  • The Future of Craft
Restaurants
  • Leafwild Cafe
  • Luca
  • Royal Albert Hall Café Bar
  • Scarlet Hotel
  • The Clove Club
Shops & Galleries
  • Frivoli
  • G&G Goodfellows
  • Masham Gallery
  • Sarah Wiseman Gallery
  • Studio Eleven
@lindathepotter
Linda Bloomfield

@lindathepotter

Potter and author of Contemporary Tableware, #SpecialEffectGlazes, #ColourinGlazes, #ScienceforPotters Making functional ceramics, inspired by lichens
  • New glaze workshop dates are up on my blog. In 2027 I’ll be teaching the following glaze workshops 29-30 January Louisiana State University USA 13-14 March @upland_clay_pottery Cumbria April @eltallerdeceramica.artcentre Malaga 19-22 April @guldagergaard_claytopia Denmark with @swansonstudii 1-2 May @coombefarmstudios Devon 22-23 May @lamineceramiqueparis France 12-13 June @the_ceramic_garden_ Carshalton 20-22 August @keramiekateliercraquele Belgium 11-12 September @countyhallpottery London 14-18 October @ceramicaza_retreats Rhodes
    21 hours ago
  • These are all dolomite matt glazes from the weekend glaze workshop @forestrowschoolofceramics . The last one is Lucie Rie’s matt glaze which she used with the addition of tin oxide to make a white matt. With tin and copper oxide it makes turquoise.
    2 days ago
  • Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
    3 days ago
  • A great first day of our glaze workshop in Dorset at @forestrowschoolofceramics, the kiln is loaded and we’ll see the results tomorrow. Katrina also teaches a throwing course, coming up in January @forestrowschoolofceramics
    5 days ago
  • Lucie Rie had to make her own glazes at a time (in the 1940s) when there were very few glaze recipe books and no internet. She made mixtures of feldspar, whiting and china clay to which she added dolomite to make a matt glaze. In England there were few frits available outside the industrial potteries so she used zinc oxide as an additional flux to make her glossy glaze. She added tin oxide for white and uranium oxide or an American yellow stain to make her yellow glaze. For turquoise, she added copper oxide to a matt glaze base containing barium carbonate. For pink, she used lead chromate under her tin glaze, making a chrome-tin pink. Emmanuel Cooper was the first to study her glaze notebooks. He published some of her glaze recipes in Ceramic Review magazine in the 1990s. I will be including both Lucie Rie’s and Emmanuel Cooper’s glaze recipes in my book Emmanuel Cooper Glazes, coming out in January 2027.
    7 days ago
  • Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
    1 week ago
  • Today is the US publication day of our book Material Matters: An Artist’s Guide to Understanding Ceramic Materials coauthored with @swansonstudii and published by @herbert.press In the book we explain the materials in clay bodies, slips and glazes and introduce the ceramic oxides one by one with an emphasis on more sustainable ways of working. We met four years ago at @guldagergaard_claytopia in Denmark, where this year we taught a joint workshop on clay and glaze materials. We are planning a US book launch and exhibition in Louisiana next January.
    1 week ago
  • I am really looking forward to seeing Life at the Wheel, an exhibition of pots by Lucie Rie and Hans Coper @offerwaterman on until 30 October. I have studied Lucie Rie’s notebooks at the @craftsstudycentre where her glaze recipes are written. She called her matt turquoise glaze Leo. Contrary to google AI which is completely wrong (never believe any AI glaze recipe), it contained barium carbonate, not dolomite, which would give a green colour with copper oxide. Emmanuel Cooper was the first to study Lucie Rie’s notebooks and as she had an influence on his work I have included her recipes in my forthcoming book Emmanuel Cooper Glazes, coming out on 14 January. Photo @offerwaterman sylvaindeleuphotographer
    1 week ago
  • As well as soaking glaze tests in vinegar overnight to test for chemical durability, it's useful to have a look at the glaze chemistry on glazy.org. For calcium based glazes, a flux ratio close to 0.3:0.7 alkali metal to alkaline earth fluxes has been found to make the most durable glazes. For my glossy turquoise glaze I have found this to work in practice. But looking at the molecular level (grey silicon atoms, red oxygen, brown aluminium, purple sodium, green calcium) it could be the soda:alumina ratio that is more important. The aluminium has a charge Al3+ that needs to be balanced by a sodium Na+ so that it can be tied up in the glaze structure, which is mostly silica Si4+, so perhaps the soda should be equal to the alumina for a balanced, durable glaze. Is 1:1 R2O:Al2O3 more relevant for glaze durability than 0.3:0.7 R2O:RO? From my book Science for Potters.
    2 weeks ago
View on Instagram
New glaze workshop dates are up on my blog. In 2027 I’ll be teaching the following glaze workshops 29-30 January Louisiana State University USA 13-14 March @upland_clay_pottery Cumbria April @eltallerdeceramica.artcentre Malaga 19-22 April @guldagergaard_claytopia Denmark with @swansonstudii 1-2 May @coombefarmstudios Devon 22-23 May @lamineceramiqueparis France 12-13 June @the_ceramic_garden_ Carshalton 20-22 August @keramiekateliercraquele Belgium 11-12 September @countyhallpottery London 14-18 October @ceramicaza_retreats Rhodes
@lindathepotter
@lindathepotter
•
Follow
New glaze workshop dates are up on my blog. In 2027 I’ll be teaching the following glaze workshops 29-30 January Louisiana State University USA 13-14 March @upland_clay_pottery Cumbria April @eltallerdeceramica.artcentre Malaga 19-22 April @guldagergaard_claytopia Denmark with @swansonstudii 1-2 May @coombefarmstudios Devon 22-23 May @lamineceramiqueparis France 12-13 June @the_ceramic_garden_ Carshalton 20-22 August @keramiekateliercraquele Belgium 11-12 September @countyhallpottery London 14-18 October @ceramicaza_retreats Rhodes
21 hours ago
View on Instagram |
1/9
These are all dolomite matt glazes from the weekend glaze workshop @forestrowschoolofceramics . The last one is Lucie Rie’s matt glaze which she used with the addition of tin oxide to make a white matt. With tin and copper oxide it makes turquoise.
These are all dolomite matt glazes from the weekend glaze workshop @forestrowschoolofceramics . The last one is Lucie Rie’s matt glaze which she used with the addition of tin oxide to make a white matt. With tin and copper oxide it makes turquoise.
These are all dolomite matt glazes from the weekend glaze workshop @forestrowschoolofceramics . The last one is Lucie Rie’s matt glaze which she used with the addition of tin oxide to make a white matt. With tin and copper oxide it makes turquoise.
These are all dolomite matt glazes from the weekend glaze workshop @forestrowschoolofceramics . The last one is Lucie Rie’s matt glaze which she used with the addition of tin oxide to make a white matt. With tin and copper oxide it makes turquoise.
@lindathepotter
@lindathepotter
•
Follow
These are all dolomite matt glazes from the weekend glaze workshop @forestrowschoolofceramics . The last one is Lucie Rie’s matt glaze which she used with the addition of tin oxide to make a white matt. With tin and copper oxide it makes turquoise.
2 days ago
View on Instagram |
2/9
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
@lindathepotter
@lindathepotter
•
Follow
Some great results out of the kiln @forestrowschoolofceramics Matt, satin matt, crawl, oilspot and crackle glazes. Thank you for the delicious cooking and unloading the kiln Katrina @forestrowschoolofceramics
3 days ago
View on Instagram |
3/9
A great first day of our glaze workshop in Dorset at @forestrowschoolofceramics, the kiln is loaded and we’ll see the results tomorrow. Katrina also teaches a throwing course, coming up in January @forestrowschoolofceramics
A great first day of our glaze workshop in Dorset at @forestrowschoolofceramics, the kiln is loaded and we’ll see the results tomorrow. Katrina also teaches a throwing course, coming up in January @forestrowschoolofceramics
@lindathepotter
@lindathepotter
•
Follow
A great first day of our glaze workshop in Dorset at @forestrowschoolofceramics, the kiln is loaded and we’ll see the results tomorrow. Katrina also teaches a throwing course, coming up in January @forestrowschoolofceramics
5 days ago
View on Instagram |
4/9
Lucie Rie had to make her own glazes at a time (in the 1940s) when there were very few glaze recipe books and no internet. She made mixtures of feldspar, whiting and china clay to which she added dolomite to make a matt glaze. In England there were few frits available outside the industrial potteries so she used zinc oxide as an additional flux to make her glossy glaze. She added tin oxide for white and uranium oxide or an American yellow stain to make her yellow glaze. For turquoise, she added copper oxide to a matt glaze base containing barium carbonate. For pink, she used lead chromate under her tin glaze, making a chrome-tin pink. Emmanuel Cooper was the first to study her glaze notebooks. He published some of her glaze recipes in Ceramic Review magazine in the 1990s. I will be including both Lucie Rie’s and Emmanuel Cooper’s glaze recipes in my book Emmanuel Cooper Glazes, coming out in January 2027.
@lindathepotter
@lindathepotter
•
Follow
Lucie Rie had to make her own glazes at a time (in the 1940s) when there were very few glaze recipe books and no internet. She made mixtures of feldspar, whiting and china clay to which she added dolomite to make a matt glaze. In England there were few frits available outside the industrial potteries so she used zinc oxide as an additional flux to make her glossy glaze. She added tin oxide for white and uranium oxide or an American yellow stain to make her yellow glaze. For turquoise, she added copper oxide to a matt glaze base containing barium carbonate. For pink, she used lead chromate under her tin glaze, making a chrome-tin pink. Emmanuel Cooper was the first to study her glaze notebooks. He published some of her glaze recipes in Ceramic Review magazine in the 1990s. I will be including both Lucie Rie’s and Emmanuel Cooper’s glaze recipes in my book Emmanuel Cooper Glazes, coming out in January 2027.
7 days ago
View on Instagram |
5/9
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
@lindathepotter
@lindathepotter
•
Follow
Fantastic exhibition Life at the Wheel Lucie Rie and Hans Coper @offerwaterman in London until 30 October
1 week ago
View on Instagram |
6/9
Today is the US publication day of our book Material Matters: An Artist’s Guide to Understanding Ceramic Materials coauthored with @swansonstudii and published by @herbert.press In the book we explain the materials in clay bodies, slips and glazes and introduce the ceramic oxides one by one with an emphasis on more sustainable ways of working. We met four years ago at @guldagergaard_claytopia in Denmark, where this year we taught a joint workshop on clay and glaze materials. We are planning a US book launch and exhibition in Louisiana next January.
Today is the US publication day of our book Material Matters: An Artist’s Guide to Understanding Ceramic Materials coauthored with @swansonstudii and published by @herbert.press In the book we explain the materials in clay bodies, slips and glazes and introduce the ceramic oxides one by one with an emphasis on more sustainable ways of working. We met four years ago at @guldagergaard_claytopia in Denmark, where this year we taught a joint workshop on clay and glaze materials. We are planning a US book launch and exhibition in Louisiana next January.
@lindathepotter
@lindathepotter
•
Follow
Today is the US publication day of our book Material Matters: An Artist’s Guide to Understanding Ceramic Materials coauthored with @swansonstudii and published by @herbert.press In the book we explain the materials in clay bodies, slips and glazes and introduce the ceramic oxides one by one with an emphasis on more sustainable ways of working. We met four years ago at @guldagergaard_claytopia in Denmark, where this year we taught a joint workshop on clay and glaze materials. We are planning a US book launch and exhibition in Louisiana next January.
1 week ago
View on Instagram |
7/9
I am really looking forward to seeing Life at the Wheel, an exhibition of pots by Lucie Rie and Hans Coper @offerwaterman on until 30 October. I have studied Lucie Rie’s notebooks at the @craftsstudycentre where her glaze recipes are written. She called her matt turquoise glaze Leo. Contrary to google AI which is completely wrong (never believe any AI glaze recipe), it contained barium carbonate, not dolomite, which would give a green colour with copper oxide. Emmanuel Cooper was the first to study Lucie Rie’s notebooks and as she had an influence on his work I have included her recipes in my forthcoming book Emmanuel Cooper Glazes, coming out on 14 January. Photo @offerwaterman sylvaindeleuphotographer
@lindathepotter
@lindathepotter
•
Follow
I am really looking forward to seeing Life at the Wheel, an exhibition of pots by Lucie Rie and Hans Coper @offerwaterman on until 30 October. I have studied Lucie Rie’s notebooks at the @craftsstudycentre where her glaze recipes are written. She called her matt turquoise glaze Leo. Contrary to google AI which is completely wrong (never believe any AI glaze recipe), it contained barium carbonate, not dolomite, which would give a green colour with copper oxide. Emmanuel Cooper was the first to study Lucie Rie’s notebooks and as she had an influence on his work I have included her recipes in my forthcoming book Emmanuel Cooper Glazes, coming out on 14 January. Photo @offerwaterman sylvaindeleuphotographer
1 week ago
View on Instagram |
8/9
As well as soaking glaze tests in vinegar overnight to test for chemical durability, it's useful to have a look at the glaze chemistry on glazy.org. For calcium based glazes, a flux ratio close to 0.3:0.7 alkali metal to alkaline earth fluxes has been found to make the most durable glazes. For my glossy turquoise glaze I have found this to work in practice. But looking at the molecular level (grey silicon atoms, red oxygen, brown aluminium, purple sodium, green calcium) it could be the soda:alumina ratio that is more important. The aluminium has a charge Al3+ that needs to be balanced by a sodium Na+ so that it can be tied up in the glaze structure, which is mostly silica Si4+, so perhaps the soda should be equal to the alumina for a balanced, durable glaze. Is 1:1 R2O:Al2O3 more relevant for glaze durability than 0.3:0.7 R2O:RO? From my book Science for Potters.
As well as soaking glaze tests in vinegar overnight to test for chemical durability, it's useful to have a look at the glaze chemistry on glazy.org. For calcium based glazes, a flux ratio close to 0.3:0.7 alkali metal to alkaline earth fluxes has been found to make the most durable glazes. For my glossy turquoise glaze I have found this to work in practice. But looking at the molecular level (grey silicon atoms, red oxygen, brown aluminium, purple sodium, green calcium) it could be the soda:alumina ratio that is more important. The aluminium has a charge Al3+ that needs to be balanced by a sodium Na+ so that it can be tied up in the glaze structure, which is mostly silica Si4+, so perhaps the soda should be equal to the alumina for a balanced, durable glaze. Is 1:1 R2O:Al2O3 more relevant for glaze durability than 0.3:0.7 R2O:RO? From my book Science for Potters.
@lindathepotter
@lindathepotter
•
Follow
As well as soaking glaze tests in vinegar overnight to test for chemical durability, it's useful to have a look at the glaze chemistry on glazy.org. For calcium based glazes, a flux ratio close to 0.3:0.7 alkali metal to alkaline earth fluxes has been found to make the most durable glazes. For my glossy turquoise glaze I have found this to work in practice. But looking at the molecular level (grey silicon atoms, red oxygen, brown aluminium, purple sodium, green calcium) it could be the soda:alumina ratio that is more important. The aluminium has a charge Al3+ that needs to be balanced by a sodium Na+ so that it can be tied up in the glaze structure, which is mostly silica Si4+, so perhaps the soda should be equal to the alumina for a balanced, durable glaze. Is 1:1 R2O:Al2O3 more relevant for glaze durability than 0.3:0.7 R2O:RO? From my book Science for Potters.
2 weeks ago
View on Instagram |
9/9

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