Warm off-white with a satin matte finish. Absorbs light softly rather than reflecting it. The most versatile neutral in the collection, present on a table without competing with food or other glazes.

Blue-green with a dappled gloss patina texture that shifts with light, cooler in daylight, warmer under incandescent. Up close the surface has a geological depth, like aged copper. Our most visually complex glaze in person.

Deep navy over a satin base with a dappled gloss speckle, small areas of higher gloss that catch light differently from the surrounding surface. Near-black in low light, distinctly blue in natural. Grounding on a table, striking up close.

Warm grey with subtle lavender undertones and a satin matte finish. Reads as neutral in most light but adds something you can't quite name. Works equally well alongside the warm glazes and the cool ones.

Warm terracotta with a fine umber speckle across a satin matte surface. The speckle varies naturally from piece to piece, so a mixed table of Canyon reads as alive rather than uniform. Earthy in natural light, picks up red warmth under incandescent.

Warm cocoa brown with red undertones and a textured soft gloss finish. Where the glaze thins at the rim it breaks to a thin copper-rose line. Velvety in low light, warmly luminous in natural light.

Pale warm cream with a satin matte finish and a fine speckle barely visible at distance. Warmer than Moonlight, with a slight golden undertone that reads as ivory in natural light. The color of a blonde roux just off the heat. Unpretentious and highly versatile.

Pale blue-grey with a soft satin matte finish. The palest and coolest glaze in the collection, with just enough blue to distinguish it from grey. Reads almost silver in low light. A strong canvas for delicate plating.

Deep charcoal with a dense matte finish and fine surface texture throughout. Nearly black in most light with neutral undertones that keep it from reading as either warm or cool. The glaze chefs ask for when black is too much — close, but with more presence on a table.

Warm amber-tan with a soft speckle and a satin finish that develops subtle depth up close. The color of a well-developed shiro miso, that particular golden beige with warmth underneath. Sits naturally alongside earthy and neutral glazes without pulling attention.

Luminous pale chartreuse with a smooth satin finish. Named for the Japanese ume plum, this is the color of the unripened fruit — the yellow side of green, before it blushes peach. Bright without being sharp, it lifts a table setting and makes the colors around it read more vividly. Available as a Studio Edition alongside the trade collection.

Cool grey-green with a smooth satin matte finish. The color of an agave plant in full sun, muted and dusty with just enough blue to keep it from reading as pure green. Quiet and composed on a table, pairs naturally with the warm glazes without competing.

Warm cocoa brown with red undertones and a textured soft gloss finish. The defining detail is a soft leathered texture that gives depth and softness as light passes over the surface. Velvety in low light, warmly luminous in natural light. The glaze that surprises people most up close.

Dusty rose-red with a fine speckle across a satin matte surface. Warm but not orange, deeper than blush, closer to the skin of a Brandywine tomato at peak ripeness. The speckle gives it texture and life at close range. One of the most food-forward glazes in the collection.

Dark neutral brown with a dappled surface that shifts between matte and a soft luster depending on the light and angle. Dark enough to anchor a table without reading as black. The most texturally complex glaze in the collection.