I wanted to cover the outside in the dark tenmoku (DMM4), but leaving some porcelain visible, emphasizing the porcelain body. I poured transparent 51 on the inside, then, after dipping the rim into the same glaze and leaving it to dry, I dipped the rim into latex. With latex also on the bottom, I dipped the goblet into the DMM4, holding from the rim. Then a big squirt of DMMH2 from a wide-nibbed bulb, followed with a couple of thin squirts of 11A. Thanks to Daniel de Montmollin and Carol Youngner for the glazes.

Fired to 1260°C, in oxidation.

Porcelain goblet. Dipped, slanted, into tenmoku (DMM4); dipped, slanted, into DMMH2; fine nibbed squirt of 11A (a white, with rutile – turns blue over the iron-based tenmoku). Inside: transparent 51. For glazes, thanks to Daniel de Montmollin, and Carol Youngner.

Fired to 1260°C, in oxidation.

Stoneware, base coating of tenmoku DMM4 all over, inside and out, showing oil spots on inside and outside, at bottom, and where it has run a little more thickly; DMMH2 wide squirt with big-nibbed bulb (shows tan), then a second layer of same squirted with finer nib; two final fine squirts of Blanc Beurré. The DMM4 speckles nicely through the two surface glazes. The trick is to hold the pot and the squirting nibs at the right angle, for the drips to converge attractively at the back (see photo at top). For next time: I should have left some porcelain visible. (Thanks to Daniel de Montmollin and Alain Losa for glazes).