Stoneware Sandpiper Plate & Vase


Products Used

  • SB-114 8" Stoneware Vase
  • SB-129 Modern Stoneware Dinner Plate
  • UG-31 Chocolate
  • UG-34 Chestnut Brown
  • UG-50 Jet Black
  • UG-51 China White
  • UG-57 Spice Brown
  • UG-100 Terra Cotta
  • UG-219 Marine Blue
  • UG-221 Cement
  • SG-402 White
  • SG-406 Brown
  • SG-408 Orange
  • SG-410 Bright Blue
  • SW-001 Clear
  • SW-117 Honeycomb
  • SW-204 Amber Topaz
  • SW-212 Peacock

Decorating Accessories

  • AC-230 Clay Carbon Paper
  • MT-002 Wood Grain
  • CB-110 #10/0 Liner
  • CB-220 #2/0 Detail Liner
  • CB-404 #4 Pointed Round
  • CB-406 #6 Pointed Round
  • CB-604 #4 Soft Fan

Miscellaneous Accessories

  • Pencil
  • BT-910 Synthetic Sponge
  • Palette
  • Stiff Toothbrush or Spattering Brush
  • Black Permanent Marker
  • 3/4" Sponge-on-a-Stick
  • Scissors
  • Plastic Cup
  • Pattern: Download
SandPiper SW Plate Vase
Designer: William Pulse


1. Begin with properly fired shelf cone 04 bisque.  Moisten a clean sponge and wipe bisque to remove any dust.

2. Using a Spatter Brush or used stiff bristled Toothbrush to spatter separately the following colors on to the lower quarter of the plate; UG-31 Chocolate, UG-34 Chestnut Brown, UG-50 Jet Black and UG-51 China White. This will create the sand texture under the water area of the pattern. The concentration of the specks should be heaviest towards the lower portion next to the inside rim. The specks should be lighter as they move up the plate fading to nothing below where the bird will be positioned. Use a damp sponge to wipe off any errant specks from the rim of the plate.

3. Using scissors to cutout around the ripples of the pattern. Align the outside edge of the pattern to the MT-002 Wood Grain Mat. Use a Black Permanent Marker to trace the pattern edge outline of the ripples to the MT-002 Wood Grain Mat. This will give you a guide as to where to apply the color before printing the design of the mat to the ware. Using a dry ¾” Sponge-on-a-Stick to apply some UG-219 Marine Blue to the marked off inside area on the Wood Grain Mat. Do a test printing to get the feel of using the larger Mat and how to position it onto the plate. Reload the Sponge-on-a-Stick with color and reapply the color again to the Mat. Place the Mat onto the surface of the plate about 1” from the inner rim and to where the leading edge of the wood grain is just inside the rim as well, press firmly over the Mat. Lift the Mat from the ware.

4. Use the AC-230 Clay Carbon and a pencil to trace the bird pattern to the ware aligning the one foot to where it is in the middle of the center ring of the wood grain. The detail in the wing and head aren’t necessary at this time.

5. Use CB-406 Pointed Round and CB-220 Detail Liner to apply 3 coats of UG-51 China White to the bird and beak. Apply 1-2 coats to the legs and feet as well.

6. Shade the head, wing, upper chest and leg area back to where the wing tip edge with UG-57 Spice Brown with CB-406 and CB-404 Pointed Rounds. Let dry. Continue to darken the shading with UG-100 Terra Cotta, keeping the shading darker towards the edge of the bird. Shade the neck from the body of the bird above the wing area with Terra Cotta. To further darken the shading in the bird use UG-31 Chocolate. Concentrate this shading towards the upper back down to the wing tip, crown on head and front of the chest.

7. Using CB-404 Pointed Round to shade under the wing along the body with thinned UG-34 Chestnut Brown.

8. Shade the beak with UG-221 Cement and UG-57 Spice Brown. Darken the shading to the lower half of the beak with UG-34 Chestnut Brown. Darken the beak near the head with thinned UG-50 Jet Black. Detail the beak with thinned UG-50 Jet Black with CB-110 Liner.

9. To the legs, apply 1-2 coats of UG-100 Terra Cotta. Shade the back portion of the upper leg and bottom portion of the lower legs/feet with thinned UG-31 Chocolate. To the lower portion of the legs and feet shade with UG-34 Chestnut Brown to darken using CB-220 Detail Liner. Detail legs with a fine line of SG-406 Brown. Add a highlight to the upper front edge of legs with a fine line of SG-402 White.

10. Retrace the feather details back onto the bird using the Clay Carbon. To detail the veins of the feathers in the wing and head use SG-406 Brown. Keep this detailing as fine as possible. Outline the head, neck, back, breast and lower portion of the bird with a fine broken line of SG-406 Brown as well.

11. To the tips of the feathers in the wing use SG-402 White. Keep the shape of the markings like the detail in the pattern. Note that the markings are thickest and pointed towards the end. The markings taper as they go away from the tip of each feather.

12. Use CB-100 Liner loaded with thinned UG-34 Chestnut Brown to detail the edge below each of the white markings on the wing feather. Use CB-220 Detail Liner to shade the upper areas of each of the wing feathers. Reinforce the previous painted line of Chestnut Brown with some thinned UG-50 Jet Black.

13. Detailing of the water ripples are done with a fine line of SG-410 Bright Blue along the edge of the ripples. This detailing is not solid, but a broken line that mimics the edge of the ripples. Use SG-402 White to detail the highlight on the ripples next to the Bright Blue lines. Keep these lines fine and broken that parallel the previous detailing.

14. To the center of the plate apply 2-3 coats of SW-001 Clear using CB-604 Soft Fan.

15. To the front and back rim of the plate apply 1 coat of SW-204 Amber Topaz using CB-604 Soft Fan and CB-406 Pointed Round. Apply a second coat of Amber Topaz backing off the edge of the color about ¼” from the edge on the inside rim. For the third coat of Amber Topaz backing off the edge of the color about ½“ from the inside rim.

16. Apply 1 coat of SW-117 Honeycomb to the top and bottom rims. Bring the color all the way to down to the inside edge of the plate, backing the crystals back about ½’ from the inside rim. Apply a second coat of Honeycomb to over the rim, keeping the crystals back about ¾” from the inside rim edge. This color combination can move greatly in the firing and care is needed in placing the crystals from the glaze.

17. To glaze the inside of the vase, thin SW-212 Peacock in a plastic cup with water to a melted ice cream consistency. Pour the glaze into the vase and while working quickly, rotate the vase to completely roll the color to the inside. Pour out excess glaze and invert to dry. Use a damp sponge to remove any drips from the outside of the vase.

18. To the top 2/3 of the vase apply 3 coats of SW-204 Amber Topaz using CB-604 Soft Fan. To the bottom 1/3 portion of the vase apply 3 coats of SW-212 Peacock. It is best to work first one coat of Amber Topaz then one coat of Peacock in tandem, blending the colors over one another to create a blending of the two glaze colors, repeating this until all three coats of each color is completed. Use CB-604 Soft Fan to apply 1 coat of SW-117 Honeycomb to the outside of the vase backing the crystals about 3/4” from the bottom edge. Apply a second coat backing the crystals about 1 ½ ” from the bottom edge of the vase.

19. Remove any glaze from the bottoms of both pieces with a damp sponge as they are not stilted in the higher firing.

20. Fire both pieces to Shelf Cone 5-6 (Mid-range High Fire). Do not Stilt the pieces. Make sure the plate is placed flatly and fully onto a shelf with no area overhanging the shelf.

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