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).

My intention was to repeat the DMM4 goblet with the 66 (which turns golden), and add a squirt of BB (white). The effect is quite unexpected: the covering layer of 66 does lighten the tenmoku, but does not turn to gold; here it settles at the lower edge, turning blue. The tin white (BB) works well. Transparent 51 poured inside, dipped on rim, and lightly sprayed over the outside

Fired in oxidation, to 1260°C

Compare with the earlier DMM4 +66:

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.