Metallic Flash
Spectrum Raku
The reason most people want to try raku in the first place. It comes out of the reduction chamber looking like poured metal.
Every raku glaze we carry, across five makers. These are not shelf glazes and they never go in the regular kilns.
Raku is a firing, not a glaze. The pot comes out of the kiln glowing, goes straight into a container of combustible material, and the fire that starts in there pulls oxygen out of the glaze and the clay. What comes out is metallic flash, crackle, and black wherever the smoke reached bare clay.
Because the firing is so short and so violent, raku glazes are built to melt fast and low, and they behave nothing like the cone 5 and a half glazes on the rest of our shelves. Firing one in a regular glaze kiln is a waste of a good glaze and a poor result.
The other thing to know is that raku is not functional. The surface is porous, the crackle goes all the way down, and nothing fired this way should hold food or water. It is a decorative process and a spectacular one.
These glazes come out at our raku workshops rather than off the open shelves. Each page notes its own membership level and whether it is stock or order-your-own.
54 is a lot to look at. If you want three, these are the three.
Spectrum Raku
The reason most people want to try raku in the first place. It comes out of the reduction chamber looking like poured metal.
Spectrum Raku
Copper is what makes raku do the thing raku does, and this is the most direct version of it we carry.
Spectrum Raku
The other half of the tradition. A white raku crackles as it cools, the smoke gets into every crack, and you end up with a black web that no other firing can give you.
Grouped by maker. Every tile is one we fired ourselves.
The deepest raku range we carry by a distance, and where most of the metallics live.
A small Portland-made set with a distinct palette.

The pot comes out of the kiln at around 1800 degrees, glowing, and goes straight into a bin of combustible material. The material ignites instantly, the lid goes on, and the fire uses up every bit of oxygen in the container. Then it starts taking oxygen from anything that has some, which means the metal oxides in your glaze.
Copper that would have fired green gives up its oxygen and comes back as metal. Bare clay soaks up carbon and goes black. The glaze contracts faster than the pot as it cools and crackles, and smoke drives into every line as it opens. All of that happens in about a minute.

Raku rewards planning that has nothing to do with glaze. Leave areas of bare clay deliberately, because that is where the black comes from and a piece glazed edge to edge loses half the contrast. Keep walls an even thickness, since the thermal shock of the process finds every weak point. Avoid closed forms that can trap air.
And accept losses. Pots crack in raku. Everyone's do. That is the cost of the only firing in the studio where you watch the result happen in front of you.

The clay never fully vitrifies at raku temperatures, so the body stays porous. The crackle runs all the way down through the glaze to that porous body. Smoke and carbon have been driven into it on purpose.
A raku pot is a beautiful object and a poor cup. Dried flowers, sculpture, wall pieces and things that hold nothing at all. That is not a limitation to work around; it is what the process is for.
No. They are built for a fast, low firing and a reduction that a regular glaze kiln never provides.
No. The surface is porous and the crackle runs deep. Raku is decorative.
At a raku workshop. They are not open shelf stock.
Copper and other metals in the glaze reacting to the oxygen being pulled out of them in the reduction chamber.
That is carbon from the smoke soaking into any unglazed surface. It is why raku pieces are often designed with bare areas.
Some work, and we carry a set of Mayco crystal glazes for exactly that reason. Ask before you plan a piece around it.
Raku is the one firing where the result is decided in the sixty seconds after the pot leaves the kiln. Nothing else we do is like it.
We have done our best to represent every glaze here accurately, and you should still expect your pot to look different from what is on this screen.
Our glaze tile images are digitally created. They are built to show the character of a glaze, not to be a color match.
A screen is not a printout, a printout is not a test tile, and a test tile is not a finished pot. Each step in that chain shifts what a glaze looks like, sometimes a lot.
On top of that, the pottery itself changes the result: the clay body, how thick the glaze went on, whether it was brushed, dipped or sprayed, what was layered under or over it, where the piece sat in the kiln, how hot that spot ran, how fast it cooled, what was fired next to it, and how much texture the surface had. Two pots glazed from the same jar on the same day can come out different.
Treat every image here as a starting point, and treat a test tile fired on your own clay as the real answer.