Clay Times Back Issues Vol. 2 Issue 5 • Jul/Aug 1996 | Page 22

Myths & Misconceptions

The Mystery of Raku
BY STEVE BRANFMAN
“Raku clay is the only clay that
can be used for raku. Raku glazes are
always glossy. Electric kilns can’t be
used for raku. Hard brick makes a better raku kiln than soft brick...”

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These are but a few of the misconceptions and myths about the
raku technique that I’ve encountered as a potter and teacher. Let’s
clear the air and get some basic
information straightened out about
this somewhat mysterious, elusive
technique called raku.
To begin with, raku as we in the
U.S. and as most contemporary potters throughout the world practice
it bears little resemblance to traditional raku from where we got the
idea. Our primary departure from
traditional raku lies in the familiar
post-firing reduction technique
which imparts lustrous and metallic
surfaces to the ware.
Basic to the understanding of
raku is to think of raku as a process
and technique, not as a strict set of
materials, clay bodies, recipes, and
equipment. Much confusion about
how to do raku and what is needed
stems from misunderstanding the
concept of the process. For instance,
when a clay body is labeled as raku,
just what does that mean? Does a
raku clay have a universal set of criteria that can be counted on? The
answer is no. The only characteristic of a raku clay that should be
consistent at all is its ability to withstand the increased thermal shock
of fast heating and quick cooling.
Color, vitrification, texture, and
forming characteristics can be, and
often are, as different as can be.
What does this mean for an
individual looking for a raku clay?
Most any clay, especially clays that
vitrify in the stoneware ranges, can
be successfully raku fired without
any special treatment. As I often say
at workshops, “I’ve never met a
clay that I couldn’t raku.” Choose a
clay that has the forming character
and color that you are looking