Crystalline glazes are glazes that have just the right quantity and combination of particular ingredients that they will actually grow real crystals in the pottery glaze.

In my case, my crystals are usually made of zinc and quartz (aka silica). These two natural materials like to bond together when they are molten. Given you keep your kiln firing at the the right temperatures for just the right amount of time, crystals will grow on the ceramics in a typical pottery kiln.

There are many types of crystalline glazes, in which the crystals are formed from iron (often called aventurine), magnesium (sometimes a simple matt or dolomite glaze), calcium, manganese and even cobalt. I’m dabbling with cobalt crystalline glazes and cobalt mirror glazes.

What you see on my pieces are real crystals—but they grew horizontally in the glaze (glass) versus vertically.

The different colours within my crystals are created by the different temperatures I choose to hold the kiln at during their growth. Additionally, colour is highly influenced by a reduction atmosphere—which can transform a light yellow or brown-ish glaze to lavenders, blues and blacks.

You can put my regular crystalline pieces into your microwave and also into your dishwasher. Any pieces that should not be used this way will be clearly noted in the product description in my store. (My lustre and crystalline lustre, aka lusters, pieces are the only exceptions. They should not go into the microwave as they have metallic surfaces and will spark.)

All ceramics, crystalline glazes included, will keep their beauty far longer if you hand wash them gently (without any abrasive cleaners or metallic scrubbers) - but you can put them in the dishwasher if you’d like.

I’m not surprised, and, yes, I can help you in a variety of ways.

First of all, let’s be serious crystalline glazes are difficult. I want to be clear about that. Not to discourage you but to encourage you to keep trying—the results can be worth the effort—in time.

Although crystalline glazing is widely known now. almost common, unlike when I started doing it. Its difficulty is underplayed.

People see the fabulous work of masterful crystalline potters, maybe take one or two of their courses and expect they’ll be able to recreate similar pieces of work at their studios in a matter of months. It doesn’t often work this way. It can, but it’s not usual.

The highly experienced crystalline potter and craftsman can make it look easy. Even if they tell you exactly what they are doing, their clays, their firing strategies, their kiln manufacturer even—unless you are at the right level already, experienced in complex or difficult firings and working with equally stubborn glazes—it’s unlikely you’ll have success right away. There’s a huge learning with crystalline, because every part of the process affects the outcome.

However, once you’ve started getting crystals, whether good or bad, you’re on your way and there can be no stopping you with a little nudge or help.

If you need some basics, like how to make and attach pedestals (risers used with running crystalline glazes) and catch trays, etc. please watch my free Instagram reels or see my store.

If you’ve read and watched everything you can find out there, and you are still struggling—maybe it’s worth paying for either a one-to-one video session or even a day’s in-person training with me at my UK studio? Options are listed in my store.

The answer is yes.

Yes, I conduct workshops from time to time, both from my UK studio and at other artists’ and community studios and fine art centres and I also offer one-to-one and semi-private days working with me at my studio (please check out my store offerings).

If you or your clay community centre are interested in hosting me for a workshop, please contact me.

Additionally, I can assist you one-to-one over Zoom or even via a Whatsapp video chat for an hourly fee. Please go to my store, or get in touch to discuss specifics, email annie@anniecap.com.

If you need assistance with any part of crystalline glazing process, whether it’s growing better or more interesting crystals, firing in reduction, or simply applying the glaze—I can help. I offer one-to-one mentoring over Zoom, Whatsapp, telephone or in-person one-on-one or semi-private training at the UK studio. See my store for more details or contact me to discuss your specifics at annie@anniecap.com.

Hopefully you’ll love the ceramics you receive from me, but if you don’t you can return them in the same condition within 30 days for a full refund or exchange. If you return an item, you are responsible for the postage or courier costs and delivery to me. Therefore, you may wish to return any items tracked.

Please use the following address for returns:

Annie Cap

Danesend

Hogg Lane

Petham Canterbury KENT

CT4 5PJ

United Kingdom.

Yes, I am proud to a say I have been included in the new Diane Creber ‘Exploring Crystalline Glazes’ book. I am one of the featured crystalline potters from around the world.

I receive no royalties, as this is Ms Creber’s book, but if you fancy a copy, you can order at https://www.bloomsbury.com/uk/ or on Amazon, or other major retailers (bookshops and online) once it’s been released in the UK, USA, Canada, Australia and India.

‍SPECIAL NOTE: If you have this book, please note that some of the information is inaccurate and will need to be updated in the next edition. Specifically, my reduction process and the pictures of my work are mis-labelled. Also some of the information in the chapter on reduction is not correct for the way I do reduction. I never get carbon build-up using my method, and at high temperatures I prefer and will see a tall flame coming out of my top lid peep hole (but not so at lower temperatures).

All photographs of ceramics attributed to me (Annie Cap) in ‘Exploring Crystalline Glazes’ were high temperature reduced during the cooling of the oxidation crystalline firing and not post-fire reduced at high temperature in a separate firing.

Additionally, the description of my process has been shrunk down to less than a page—it’s much more involved, especially to keep you safe and to achieve true reduction. I will be releasing a downloadable How-to PDF which will include the complete steps to successful, safe reduction in an electric kiln soon. (See my store.)

Plus, although my Twilight glaze recipe has been included in the book, the editor neglected to tell you which of my pieces had this glaze used on it. Sorry this happened. I have included a Twilight product in my store, just so you can see what it can look like.

It’s never happened to me yet, but if your purchase is broken in transit, please contact me and we will either arrange a refund or replacement.

Uniqueness is one of the most beautiful features of crystalline glazes. No matter how hard I try, even if I do my very best and I create three vases or six mugs that are the same sizes or shapes, when I fire them with crystalline glazes they will always be different from each other. Even if I use the exact same batch of glaze and I apply it ‘the same way’ to each of them, no two finished pieces will ever be identical to another.

It’s just not possible. And this is especially true for my reduction fired crystalline glazes and crystalline lustres (and ‘non-crystalline lustres’).

I do not—and cannot control—where and when the crystals form, how many will form, and how they choose to grow and express themselves. Each glazed piece will react the way it wants in the firing. Even if all the pieces are in the same kiln load, positioning too makes a big difference.

Each piece and every crystal that grows can be thought of like a snowflake. No two are said to ever be the same.

I can influence the shapes and colours of my crystals now, because I’ve been growing crystals in my glazes for 15 years now! But influence is the key word here. I can’t force anything to occur inside the kiln, I can just nurture the crystal growth by providing all the best condition, like how Mother Nature makes crystals.

In reference to a pottery kiln, firing in reduction means that you are adding a fuel that will burn into a kiln and then reducing or starving the kiln of oxygen or air, causing it to pull oxygen atoms from the glaze itself and even the clay body.

Usually people think of gas kilns when they think of reduction. But reduction can be done in an electric kiln or even a metal bin or trash can. By adding a combustible—a fuel that will burn—many kilns can be fired in a reduction atmosphere. The basics are that fire oxygen and when its access is restricted, the flame will find it elsewhere.

The reason I reduce in my electric kiln is to purely to achieve the dramatic colours this technique offers, including shimmering crystalline lustres and my favourite iron reduced blues.

Complete the form on my Contact page to send me a note.

If for some reason you don’t hear from me within 2-3 days, please email me directly using annie@anniecap.com.

You may also contact me via my mobile (or cell, UK number 07815076278, +4478115076278 from elsewhere). Or text message me or send me a Whatsapp message to +447815078278.

I aim to respond quickly—usually within one to two business days. (three at the worst, unless I’m on holiday).

Yes, I have designed and make all my crystalline glazes, which I refer to as ‘sparkling’' glazes. I also make all my ‘still’ glazes (standard stoneware and porcelain glazes, non-crystalline). My ‘still’ glazes are used inside any pieces that food or drink might touch. I also like to use them on my handles.

All my pieces are made by hand, by me, in my own studio unless otherwise noted.

Occasionally, I will collaborate with another artist and these items will be clearly stated as a such.

None of my work or glazes, for that matter, are outsourced.