C A R P E   D I E M

Community

Sharing is Caring

At Carpe Diem Crafts, I believe creativity is meant to be shared. This space exists to uplift the clay and art community — openly passing along glaze recipes, process, and the small techniques that make a difference.

Pottery can feel like a long learning curve — but it doesn’t have to be done alone. Some of the most valuable growth comes from seeing what others are doing, learning from experimentation, and passing along what works.

Whether you’re just getting started or have been working with clay for years, I hope this sparks ideas, builds confidence, and encourages you to keep creating.

Recipes

Glaze Combos

Combinations I’ve tested in my own kiln. Glazes behave differently in every studio — treat these as a starting point and always run a test tile before committing.

AURORA DRIP

The textured turquoise breaks beautifully where it pools. Wax the foot — this combo runs.

  • BASE: AMACO PC-12
  • ACCENT: PC-25 TURQUOISE
  • CONE 6 OXIDATION

QUIET STONE

Great for pieces with carved or thrown texture — the iron settles into the lines.

  • BASE: COYOTE SHINO WHITE
  • ACCENT: 2% RED IRON WASH
  • CONE 6 OXIDATION

KILN BLOOM

Dip clear, then pour a single vertical stripe of plum from the rim. Tilt to let it travel.

  • BASE: MAYCO SW-001 CLEAR
  • ACCENT: SW-177 SPECKLED PLUM
  • CONE 6 OXIDATION

Process

How It's Made

From a wedged ball of clay to a finished piece pulled from the kiln — the steps every pot moves through in the studio.

01

Wedging & centering

Every piece starts with a wedged ball of stoneware. Centering is the quietest part of the day — no shortcuts here.

02

Throwing on the wheel

Walls are pulled thin but with enough body to hold a confident foot. I keep a notebook of weights so cups and bowls stay consistent across a run.

03

Trimming & attaching

Once leather-hard, pieces are flipped and trimmed. Handles are pulled by hand and scored on while the body is still receptive.

04

Bisque firing

First firing to cone 04. This sets the clay so it can take glaze without slumping.

05

Glazing

Wax the foot. Dip, pour, brush — combinations are tested on small tiles before they ever touch a finished pot.

06

Glaze firing

Cone 6 oxidation, slow cool. The kiln is loaded tight but with breathing room for runs.

Studio Notes

Tips & Techniques

Small things I’ve learned that save time, clay, and kiln shelves.

Wax your feet

Liquid wax resist on the bottom of every piece keeps glaze off the foot and saves your kiln shelves. Non-negotiable for any glaze that moves.

Test tiles save firings

Before committing a new combo to a finished piece, run a vertical test tile so you can see how the glaze behaves where it pools and where it thins.

Weigh your clay

If you want a matching set, weigh each ball before throwing. 1 lb 6 oz = a comfortable everyday mug for my hands.

Slow down the cool

A slow cool from 1900°F to 1500°F gives certain glazes (rutiles especially) time to crystallise. Worth the extra hour.

Document the failures

Photograph the cracks, the runs, the misfires. The next idea usually lives inside the last mistake.

Creativity has a way of connecting people. When we share what we know, we help each other grow — and that’s what makes this community so special.