I work with a very fine, smooth porcelain that I fire on 1260℃ or 1280℃depending on the fluxing power of the added oxides. I color the china clay with oxides and commercial stains to obtain a palette of bright colors. I prefer to mix my china clay by weighing it out in dry form and adding dry colorants so I obtain repeatable results. I use between 0.25% till 10%stains or oxides. 　

After preparing the colored porcelain body and porcelain slip, I roll them out in slices, which I cut in fragments that are inlaid and carefully pressed in a porcelain coat in a mould, over which a second porcelain coat, the porcelain slip is applied. When everything is in place and the clay is leather hard, the coats at the inside and the outside are scraped off. After drying, the bowl is fired a first lime to 980℃. Then the skin is carefully polished and without glaze fired in a sand, filled mould at 1260℃. The kiln is opened with mixed feelings of hope and fear, because the procedure entails a dose of fatality. The paper-thin wall is a challenge to the heat: just a little tension can result in shatters. It is important that the kinds of porcelain clays used together have an even shrinkage, that the color perfectly mixes in the porcelain, otherwise tension rises when firing. But, this can also be a new challenge to other experiments, other ideas. After each firing, the porcelain bowls are polished again with waterproof silicon carbide paper to get a beautiful, velvet skin. Sometimes, I use also platinum luster glaze to give special accents to the white, inlay porcelain bowls in a third firing at 800℃.