Materials & colour · Production homeware
Senior Materials & Colour Designer
I develop glaze, pigment and finish systems that hold their character on the shelf and still behave predictably on a production line.
Profile
Twelve years moving finishes from bench samples to repeatable production, mostly in tableware, enamelware and cast homeware. I work in the gap where design intent meets furnace reality: reformulating a glaze so it tolerates a second kiln site, rewriting a spec so a supplier reads it the same way the studio does, sitting through line trials until the tone is stable.
My habit is to design the system rather than the single object — a palette with documented recipes, tolerances and failure modes, so a range can be extended two years later without re-solving the same problems. I write the documentation myself and I like being on the factory floor when it is tested.
Selected work
Developed a six-glaze palette for a reduction-fired stoneware body, then proved each recipe across two kiln sites with different atmospheres. Built a tolerance table that told the factory which tonal drift was acceptable and which was a reject, so colour decisions stopped escalating to the studio.
Reworked an enamel finish and its firing schedule so chipped or mis-coated pieces could be stripped and re-fired in-house instead of being scrapped. Required loosening the colour spec slightly and proving the second firing did not shift tone beyond the agreed tolerance.
Built a physical reference library of fired tiles paired with a written naming grammar, so a colour could be requested unambiguously across design, sampling and purchasing. Replaced an ad-hoc set of studio nicknames with names that encode body, finish and firing range.
Experience
Capabilities
Education & training
Contact
Email is the fastest way to reach me. I can share fired samples and full recipe documentation for any of the projects above on request.