Raku is a magical transformation that involves part skill and part luck. It is exciting, somewhat dangerous, intensely hot, and turns a functional piece of pottery into simply "art". The pieces above were all prepared with a clear raku glaze and blown with compressed air immediately when pulled from the kiln. This drastic change in temperature causes thermal shock. The pieces were then thrust into newspaper-lined reduction buckets which helps accentuate the crazing with black carbon lines.
I have recently been introduced to a new technique of firing called Saggar.
The pot below was wrapped in salt-soaked yarn, cradled in a nest of wood shavings,
then wrapped tightly with tin foil. My saggar was fired in a gas raku kiln to 1300*F and
left to cool. The following day the clay pot was removed and the
image below was my treasured reward.
The pot below was wrapped in salt-soaked yarn, cradled in a nest of wood shavings,
then wrapped tightly with tin foil. My saggar was fired in a gas raku kiln to 1300*F and
left to cool. The following day the clay pot was removed and the
image below was my treasured reward.

Raku is a Japanese word that can be translated as enjoyment, happiness, or comfort. The techniques I use are not considered traditional but Western raku. Traditional raku did not involve a reduction in oxygen ... pieces were removed from the kiln and allowed to cool in open air. In 1960, American pottery Paul Soldner began experimenting and discovered the wonderful results of reducing oxygen to the cooling clay.
This photo is a good example of Western raku. Once removed from the raku kiln, the piece is placed in a metal bin filled with newspaper, dried leaves, wood shavings ... anything combustible. The bin is covered to reduce oxygen. When all the oxygen has been depleted, the bin draws oxygen from the clay and glaze used. This reduction traps carbon molecules in the atmosphere of the container resulting in rich, black accents.
This photo is a good example of Western raku. Once removed from the raku kiln, the piece is placed in a metal bin filled with newspaper, dried leaves, wood shavings ... anything combustible. The bin is covered to reduce oxygen. When all the oxygen has been depleted, the bin draws oxygen from the clay and glaze used. This reduction traps carbon molecules in the atmosphere of the container resulting in rich, black accents.