How We Made a Hand-Built Raku Bowl: From Clay to Fire

Soft light, raw linen, and fire-marked clay — a one-off 26cm raku bowl where smoke, crackle and hand-drawn line meet in quiet balance.

There is something wonderfully unpredictable about raku. You can guide it, influence it, prepare for it — but in the end, the fire always has the final say.

This 26cm bowl began its life not on the wheel, but by hand. We used a specially grogged raku clay, chosen for its ability to withstand the thermal shock that comes later in the process. The clay was carefully pressed and formed over a mould to achieve the low, open shape — 26cm across and around 7cm tall — allowing us to refine the curve and ensure an even wall thickness. Hand-building in this way gives a slightly softer, more organic presence than wheel-throwing, and that quiet irregularity is something we embrace.

Once formed, the bowl was left to dry slowly and evenly. Raku clay needs patience at this stage. Too fast, and stress cracks can develop. Over several days it dried naturally in the studio until bone dry and ready for its first firing.

The bisque firing took place in our Nabertherm electric kiln, gradually climbing to 1000°C. This stage transforms fragile clay into ceramic — still porous, but stable enough to handle and glaze. The slow, controlled heat of the electric kiln contrasts beautifully with the drama that follows.

After cooling, the surface design began. Areas of the bowl were carefully masked using tape to define where glaze would not be applied. These masked sections are crucial — during the raku firing they will become carbonised, turning deep charcoal black as smoke penetrates the unglazed clay body. The sweeping linear design you see on the finished piece was created at this stage.

The bowl then received three coats of transparent crackle glaze. We chose a clear glaze deliberately, allowing the natural tone of the clay body to remain visible beneath the surface. Raku is about honesty — the clay, the fire marks, the smoke — nothing hidden under heavy colour. Once the glaze had dried, the masking tape was removed, revealing the clean clay lines beneath.

Then came the part we always look forward to.

On a bright, still day — ideal raku weather — the gas kiln was lit. Unlike the steady rhythm of the electric kiln, raku firing is fast and visceral. The temperature rises rapidly to around 1000°C. Flames curl, the glaze begins to shimmer, and within a short time the bowl is glowing red-hot.

Using long tongs, the bowl was lifted from the kiln at full temperature and immediately placed into a reduction bin filled with straw and other combustible materials. The organic material ignites instantly. The lid goes on. Smoke fills every available space.

For around fifteen minutes, the reduction process works its magic. Smoke is drawn into the fine cracks that form in the glaze, darkening them. The exposed clay areas turn rich carbon black.

The bowl was then removed once more — still intensely hot — and plunged into a bucket of cold water. This rapid cooling accelerates the crackle effect in the glaze and halts the smoking process.

And then… the reveal.

Each time is different. Each time is a small act of surrender to the elements.

This bowl is the result — shaped by hand, marked by fire, and defined by smoke.