Testing For A New White Glaze
Over a cup of tea, I chatted with Kari about something she’s been exploring in the studio: her search for a new white glaze that might be an addition to the current one. It started with a few tests and turned into a deeper dive into surface, softness, and what makes a plate feel just right. Here's what she had to say.
1. What sparked the idea to test a new white glaze?
I’ve been wanting to find a more light-toned white glaze that has more surface character, something with a bit more depth and interest. The current Natural White glaze is strong in its simplicity. Since it really consists of just one tone – with a hint of beige in the white – it pairs beautifully with other colors. But for some chefs, it's not quite what they're looking for; they’re after a more interesting variation on white. Also, the current white glaze tends to highlight impurities in the clay, which unfortunately results in quite a few second pieces. So this new one could really diversify the possibilities of our handmade ceramics bowls and plates.
2. Who is this glaze being tested for, mainly?
Partly for myself, but also with restaurants in mind. They often look for light, minimal glazes that still feel warm and handmade. I’m trying to create something that works beautifully in that context, especially for ceramic plates for chefs, but still feels true to my signature style.
3. How does testing a glaze actually work?
It’s a bit of a puzzle every time. You mix, apply, fire – and then cross your fingers. I usually test several variations at once, changing one variable at a time: thickness, firing temperature, or even how it reacts on different shapes. Also, I vary the placing in the oven - the position where its is located (for example at the top of the oven, above another colour) and how much space is available around the piece also influences the outcome. Then I take notes and look closely at how the surface behaves. It’s especially important when developing glazes for things like white ceramic dinnerware or custom ceramic plates.
4. On Instagram, you posted a photo of a white plate with food from Chef Alex Langley. How does that glaze relate to what you're testing now?
That one is called Porcelain White by the producer. In the photo, it was applied thicker than I usually do, which gave it this nice softness. It’s a bit unstable though – it changes a lot depending on how thick you apply it, and even the shape of the piece influences the outcome. But I like it. The name doesn’t really fit, though. I might call it Speckled Oat… although I’m not sure that sounds sexy enough. We'll give it some more thought if this glaze becomes part of the ceramic tableware collection.
5. What makes a white glaze particularly challenging to get right?
White glazes can be unforgiving. Any little iron spot or speck in the clay shows up much more clearly. You also don’t have color to distract the eye, so the surface quality needs to be interesting on its own. It’s a bit like designing with silence, especially when working on artisan pottery plates or pieces meant to hold food in a beautiful, understated way.
6. What’s your goal with this new white glaze – how will you know it’s “right”?
When it feels calm but alive. When it works across different shapes and doesn’t fight the clay underneath. And when I can imagine it on a restaurant table, or in someone’s kitchen, holding food yet being an elegant handmade plate in its own right.
7. Last question – if this glaze had a personality, what kind of character would it be?
Hmm… maybe someone who’s quiet but observant. Warm, a little rustic, but thoughtful. Someone who surprises you when you take a closer look.
