A quick, thick squirt of tenmoku; then, after heating the piece with a hair dryer to avoid having the second glaze run more than it should, I squirt a narrow band of a somewhat crystalline, titanium oxide white glaze (which, when fired, turns gold over the tenmoku), trying to keep it within the first splash of colour. Then I glaze the inside with transparent, also covering the top outside edge of the rim, making it easy on the lip. Finally, I take the spray gun to coat the outside with the finest layer of the same transparent, still leaving the surface matte, but giving it some protection against furutre stains. Porcelain; fired in oxidation, to 1260°C.

1260 °C, oxidation

Transparent glaze inside only, outside background left bare. White glaze squirted thin over tenmoku, which during firing flows down the surface, settling into a finely-speckled smooth creamy green/blue wave. In contrast, where the white hits the bare porcelain, its turns grainy, like sand.

Same glazes as above; but different kiln firing, with the white glaze a little thicker; here it turns a creamy gold, with flashes of blue. With the squirted highlights done, I sprayed a fine dusting of transparent glaze over the entire outside surface, leaving it just slightly mat. This does not change the colour of the tenmoku  (the tenmoku would lose its intensity were the transparent under the tenmoku), and also helps the white, where it strays beyond the tenmoku and onto the porcelain, to become smooth and creamy.