A few years ago I started noticing something in the studio.

Most potters are using commercial glazes because making glazes from raw materials takes space, equipment, understanding and most people want to spend that time making pots.

And all of the most popular glazes are made in America, so we were paying high exchange rates and shipping costs to get these products sent from across the world.

Because I run a pottery supply shop I get to chat with ceramicists and teachers all day about what they make, what works and what they want.

I have a front row seat to how the ceramics industry is shifting and what potters are looking for.…without realising, I have been doing some serious field research.

Over time you start to notice patterns.

Certain colours that make people light up.
Certain textures that feel special in the hand.
Certain combinations that quietly become favourites.

From conversations I have found its not just the availability and cost that are hard, I noticed the colours available didn’t always feel like us. There was space for a range that captured a different aesthetic.

I love colour. The way it can be seen but also felt, that ache behind your ribs when the light hits just right or a combination that inspires you and eventually I felt drawn to make a glaze range for the studio.

Over the years in the studio I started noticing patterns in the glazes potters loved most and what was missing.

I was excited to create something new that felt uniquely ours, glazes designed for Australian clays, shaped with feedback from other potters.

That’s when the real work began. Glaze books, a course (thanks CMW), and lots of conversations, it’s a good thing I’m surrounded by ceramic wizards! These were the bones. But the biggest teacher was testing. So. Much. Testing. Hundreds of combinations. Endless tests.

I could have used recipes from books or online, but it felt important to develop something of my own, glazes unique to the studio, using reliable and accessible materials.

Hours, days, weeks, months… a year in, we were slowly refining colour and texture until a range emerged that felt right.

I had a ‘dream’ list of colours I wanted to create, but the happy accidents are my favourites (Golden Sapwood and Emu Egg!).

There was a lot of experimenting. I roped in helpers to test, made the glazes available in the studio, and gave out plenty of samples for feedback, then refined and improved again. And of course, the most important thing is stability, they don’t leach harmful chemicals, cutlery mark or craze. Only the most consistent, hard wearing glazes made the cut.

Because beautiful is one thing. But reliable is everything.

Born of earth and alchemy

The range emerged slowly… and I’m in love.

I started making glazes because I love colour, the way it can completely transform a piece, the way a surface can suddenly make a pot feel alive.

I also wanted to create glazes for the shop that potters would be excited to use, and that I could talk about with confidence.

I am not a chemist. For me, glaze has never just been about formulas and materials. These are really important, but…

It’s also about the magic.

The moment when something unexpected happens in the kiln.
The small variations that make a surface interesting.
The joy of play and experimentation.

River Rock glazes are a bit of both.

Carefully tested.
But still wild-hearted.

And pottery should always leave room for surprises.

I’m really grateful for all the feedback, encouragement and photos I’ve received. It brings me so much joy to see these colours out in the world, in your hands.

Thanks for joining me on the ride.

x Jess