Can be thinned with water if required. Can be applied to leather-hard, dry or biscuit pieces. The engobes can be applied by brush, dipping, pouring, painting horn, sponge or spraying.
Can be thinned with water if required. Can be applied to leather-hard, dry or biscuit pieces. The engobes can be applied by brush, dipping, pouring, painting horn, sponge or spraying.
Medium green, transparent-glossy glaze with a slight cell effect. On red and black clay, the appearance changes to a dark blue-turquoise colour.
White-beige mother-of-pearl lustre glaze. The mother-of-pearl effect becomes more intense the higher the glaze is fired. It appears a shade darker on red and black clay. Also effective in combination with other glazes.
Matt black glaze with a shimmering metallic effect. The appearance remains the same regardless of the clay colour used - light, dark, red.
The white glaze has a textured character with black-brownish, fine dots. It is semi-opaque and impresses with a silky matt surface.
KGE 34 is a deep blue coloured variation of glaze KGE 33 | Sandstein.
The glaze KGE 35 is a light turquoise variation of the glaze KGE 33 | Sandstein.
KGE 36 is a deep green coloured variation of KGE 33 | Sandstein.
The glaze KGE 37 is a dark pink variation of the glaze KGE 33 | Sandstein.
Light blue-grey lustre glaze with crystal formation. The lustre effect develops more at higher firing temperatures. A light, reddish-brown shade is produced on black clay.
Eggshell-coloured glaze with a subtle texture. It is a silk-matt opaque glaze with a very soft surface. A higher layer improves the melting effect.
Cream-beige glaze with brownish red speckles. The silky matt, opaque surface has a consistent appearance on all clay colours - light, dark, red.
Opaque-glossy, dark green glaze with black crystal formation. The effect of blooming is intensified by applying more glaze. The glaze shows a stable result in all types of clay.
This glaze is a turquoise-green variant of the KGE 33. The result remains stable on all clay colours - light, dark, red.
A warm, beige glaze with a very fine, rust-brown speckled structure. The glossy glaze takes on a grey-beige shade on red clay.
Lime green, glossy, opaque glaze with a fine, rust-brown speckled structure. The brown colour becomes slightly lighter on black clay.
Medium green glaze with a fine, rusty-brown texture. Even when using different clay colours - light, dark, red - the colour remains stable.
Bright, light blue glaze with a dynamic, glossy surface. On black clay, the blue tone becomes lighter and cooler, extending into the blue-grey range.
Medium blue, clear glaze with a dynamic surface created by small, dark blue cells. The glossy, opaque glaze develops a grey-blue colour nuance on black clay.
Intense, medium blue glaze with a very effective, finely textured surface. The colour intensity is intensified on red and black clay.
Warm, rust-brown aventurine glaze with a slight cellular effect and a lively, shiny surface. The appearance of this glaze remains stable on different clay colours - light, dark, red. After liquid preparation, the glaze has a limited storability.
Beige, ivory-coloured glaze with a strong dark brown mottling, which can intensify with increased application quantity.
Beige effect glaze with rust-brown colouring on raised areas and edges. When applied to red and black clay, the colour becomes subtly darker.
Jade-green, glossy glaze with lustre-iridescent crystal formations.
Cream-yellow to red-beige glaze with fine, yellow-brown speckling. A thin layer enhances the red-brown colour. The traditional glaze in the WELTE portfolio is lead-free according to a new recipe.
Matt, light green glaze with fine beige-red veining. When black clay is used, the glaze develops a dark, reddish-brown colour.
Black-green glaze with a metallic, smooth surface and hammered effect. With a thin layer of glaze, it develops a dark green lustre. The traditional glaze in the WELTE portfolio is lead-free according to a new recipe.