Mixing handmade glazes sounds risky and is actually the easy part – if you follow the one rule our studio table follows: pick a quiet base, then let two glazes talk over it.
Start with the quiet one
Kaolin white and oatmeal are the mixers. Set the table with those first – plates usually – and every louder glaze you add afterwards will look chosen instead of collected.
Add one pooling glaze
Celadon is our talker: it pools deep in wells and breaks pale over rims, so it brings movement to the table. Bowls and serving pieces carry it best, because their curves give the glaze somewhere to go.
Ground it with umber
A few clay-brown pieces – espresso cups, a salad plate, the bud vase – anchor the palette the way dark wood anchors a room. Without them, a pale table floats; with them, it settles.
The 60 / 30 / 10 check
Roughly sixty percent quiet base, thirty percent celadon, ten percent umber. It is the interior-design ratio, and it works on a table because a table is a small room.
