Raku Pottery: What is it? Technique, History & Accessories

Different, lively, unpredictable: that is raku. Once you've dared to play with fire, you will never look at a kiln the same way again. Here at Formwerk Berlin, we introduce you to one of the most accessible and at the same time most fascinating techniques in ceramics. Learn all about the process, the history and the special raku effect.

If you are looking for reliable, high-quality pottery equipment, we recommend taking a look at our shop, Formwerk Berlin.

What does “raku” actually mean?

The Japanese word raku (楽) can be loosely translated as “joy,” “contentment” or “enjoyment.” Originally it wasn't a technical term but a family name – more precisely, the name of a dynasty of potters that lives and works in Kyoto to this day.

The potter Chōjirō founded this line in the 16th century. His son Jokei received a golden seal bearing the character “raku” from the powerful warlord Toyotomi Hideyoshi as a personal honor – and the family has carried this name ever since. It is passed down from generation to generation, today already in the 16th generation. “Raku” was thus, in a sense, a family-owned brand name long before it became the umbrella term for an entire firing technique and aesthetic.

A piece of history: the black raku tea bowl “Suehiro” (16th century) comes directly from the studio of Chōjirō, the founder of the Raku dynasty. It embodies the ideal of simplicity that still shapes the Japanese tea ceremony today. Source: “Tea bowl, named 'Suehiro', studio of Chōjirō” by Daderot, licensed under CC BY-SA 2.5.

Today, when people talk about raku, they usually mean exactly this firing process, which originated in Japan in the 16th century and underwent its own distinct development in the West in the 20th century.

The history: from tea ceremony to world stage

Raku begins with an encounter: the potter Chōjirō and the tea master Sen no Rikyū met in 16th-century Japan and together created something that still shapes the ceramics world today. Rikyū was looking for tea bowls that matched the spirit of wabi-cha – the ideal of quiet, unpretentious simplicity, far removed from the lavishly decorated Chinese imports that were fashionable in Japan at the time. Chōjirō shaped these bowls by hand, fired them at comparatively low temperatures and thus created objects of almost ascetic simplicity.

The golden seal bearing the character for “raku” was awarded to Chōjirō's son by Toyotomi Hideyoshi, one of Japan's most powerful rulers – thereby founding the Raku family, which carries on its tradition to this day in the 16th generation. The Japanese saying “ichi raku, ni hagi, san karatsu” – loosely translated: “first raku, second hagi, third karatsu” – shows the esteem this pottery enjoyed, and still enjoys, within tea culture.

The Japanese Raku Museum is located in the Nishijin district in central Kyoto and displays pieces from the Raku family's impressive collection.

In the West, raku became known in the early 20th century through the British potter Bernard Leach, who had lived in Japan and studied the technique. The decisive development came from America, however: in the 1960s, Paul Soldner began placing the still red-hot pieces straight from the kiln into containers with combustible material – sawdust, straw, leaves. This gave birth to Western raku, with its characteristic smoke marks, iridescent reduction effects and the black-stained crackle network.

Japanese vs. Western raku: the key difference

The essential difference lies in the cooling process. In traditional Japanese raku, the pieces cool in the open air after firing – no smoking, no oxygen deprivation.

In Western raku, as it is practiced today in most European pottery classes and studios, the pieces are taken red-hot from the kiln and immediately placed in a metal bin or a container with combustible material. The resulting smoke and oxygen deprivation – known as post-reduction – are what create the typical effects: iridescent glazes, deep black crackle lines and smoky marks on unglazed areas.

The firing process step by step

In the West – and therefore also for most potters starting out with raku in Germany today – the firing goes like this:

What makes raku so special – and what should you know?

The unpredictable is the real heart of raku. You can apply the glazes, choose the smoking materials and decide the moment of removal, but the result can never be fully planned. Copper oxide glazes can turn from green to bright red or pink in the reducing atmosphere. Carbon penetrates the clay body through the hair-thin crackle lines and creates the characteristic black line pattern. Every piece is a true one-of-a-kind.

Experiencing raku: more than just a firing technique. It is the play with the unpredictable that ultimately produces such unique surfaces and contrasts.

As for the clay: always use heavily grogged clay, meaning clay with an admixture of already fired granules. It withstands the thermal shock of being taken out of the glowing kiln much better than fine earthenware or porcelain clay. A wall thickness of about 1 cm has also proven its worth – walls that are too thin break easily when gripped with tongs.

There are clays made specifically for raku firing, for example the Witgert Rakuvaria Extrem Clay White (10 kg) with 60% grog for maximum stability in fast raku firing.

Raku works well for decorative objects, sculptures and art pieces. For functional ware like cups, bowls and mugs, however, Western raku is less suitable: the clay body stays porous because the glaze firing temperature is not high enough to fully sinter the clay. The crackle network also makes such pieces not food-safe and hard to clean.

Important safety note: Raku is a technique with real risks. Red-hot ceramics, open fire in the reduction container and escaping smoke require full protective gear: heat-resistant gloves, safety glasses, fireproof clothing. Always work outdoors or in very well ventilated spaces. Raku is not for the kitchen or living space. Please also keep in mind that some people find the smell of raku firing very unpleasant.

Kiln, Burner & Accessories: What You Need

Raku is fired in a small, fast-heating gas kiln with a large opening, so the piece can be removed quickly with tongs. Electric kilns are possible in principle, but for the true raku effect with rapid heating and immediate removal, gas kilns are clearly the better choice. The short firing time, often under an hour to reach the target temperature, also makes raku more energy efficient than long high-fire cycles.

The Kittec CBR Classic-Line was developed specifically for raku firings and other fast gas firings up to 1,150 °C.

At Formwerk you will find the Kittec CBR raku kiln in several sizes (41 to 179 liters) as a top-loading or front-loading kiln, rated for up to 1,150 °C and designed specifically for raku use.

If you want to build your own raku kiln: the heat source is a 20 or 30 kW raku gas burner (propane/butane) that brings the kiln up to temperature quickly and reliably. For the gas connection you need either a cylinder connection or the 2-cylinder adapter for higher burner output during longer sessions, depending on your setup.

You can read the temperature inside reliably with the Kittec temperature display together with a thermocouple. This is an important reference point especially for beginners: in raku you mainly watch for the glaze to melt, but a temperature display makes orientation considerably easier.

The Raku complete package from the German manufacturer Kittec for building your own raku kiln.

In the Kittec Raku Complete Package, the most important components for a DIY build are matched to each other. There is also the Kittec Raku Box and further accessories: Raku accessories

The Right Clay for Raku

Not every clay survives the thermal shock of raku firing unscathed. You absolutely need a clay with a high grog content. In our range you will find several proven options:

The Witgert Molorak Raku Clay White was developed specifically for raku use and is considered one of the most robust options for temperature changes. The Witgert Rakuvaria offers somewhat finer plasticity and is easy to work on the wheel. Even more robust under extreme conditions is the Witgert Rakuvaria Extrem. If you prefer a light, clean surface for glaze colors, go for the Sibelco Raku 5015 light. And the Witgert Stoneware No. 11 sf is a versatile clay body suitable for both raku and stoneware firings.

Raku Checklist: What You Need to Get Started

Conclusion: Raku as an Introduction to a Different Way of Firing

Raku is not a technique for absolute beginners – you should already know how clay dries, what a bisque firing is and how a kiln works. But once you have mastered those basics, raku opens up a whole new dimension: fast, sensual, alive. A firing where you don't just pick up the result but take an active part – with tongs, fire and the pleasant uncertainty of what will come out of the smoke next.

The Japanese word raku means joy. Once you have been there, you understand why.

PS: In 2026 you get 5% off kilns and raku equipment at Formwerk with the code WELCOME5. Just enter it at checkout and the discount is applied directly to the purchase price.

Enjoy exploring and happy firing, the Formwerk Berlin Team