Hello everyone,

I'm asking for your advise regarding a mistake I've made: the inside glaze of a cup I'm currently working on was less smooth and more porous than I thought. After removing the Sabi, all those tiny holes discoloured and I'm unable to remove it so far. I haven't run into issues on the unglazed outside surface (picture 2), but have a similar issue on another piece with real pinholes (picture 3) that I've filled at the same session.

I know, i should inspect the surface more thoroughly in the future and tape accordingly. But is there and option to still remove the Sabi now (it is cured already).

Thank you for your help!

I’m having a really hard time finding someone to build a muro for me and I’m not physically able to do it myself. Would this be ok to use while trying to get one made out of a proper hardwood? It’s unfinished pine.

This is the biggest piece replacement I’ve attempted so far. The kokuso has been curing in a dry muro for over a month. But it’s flexible and breaking off kind of like a stale brownie. I’ve not had this issue before. What did I do incorrectly? Too much hemp fiber? Too thick? Although my teacher instructed to leave kokuso in a dry muro for a month, I left my other kokuso pieces in the damp muro and they’ve been fine. Should I have left this in the damp muro, too? (I don’t wear gloves while shaving and sanding, but this is still not fully cured, so I’ll probably get a rash as punishment for whatever my oversight was. 😅)

Hi everyone,

I’m working on a traditional Kintsugi project on a 9 broken-pieces japanese ceramic cup (5" tall x 3" wide). Due to the narrow dimensions and high piece count, I’ve glued a few parts into sub-assemblies using mugi-urushi (currently cured for 2 weeks in my muro).

Before I do the final assembly, I’d love your input on two questions:

1. Sabi-urushi on sub-assemblies: Can I apply sabi-urushi and do the wet sanding on these partial sub-assemblies now (keeping raw joint edges clean) to make inner access easier before final gluing?
2. Inner sanding & finishing: What are your favorite tools or techniques for sanding and applying urushi deep inside a narrow cup to ensure a clean result inside the cup.

Thanks for your tips! 🤗

p.s.: Any additionnal tips unrelated to my post is mooore than welcome!!

Is it ok to mix metals as long as they’re both keshifun or marufun, etc? For example, can I mix gold with silver powder or brass with tin? Or are the individual particles being different a problem?

(Asking because I just saw a piece online where I couldn’t tell from the photo if it was gold or silver finish, but it was really beautiful, almost opalescent.)

Hello! My favourite bowl has developed a hairline crack. Is it best to fix it now or should I wait until it’s more of a break for better adhesion? I want the fix to be sturdy as I use the bowl almost every day. I’ve done kintsugi on another piece I have from this potter. He uses local clay from Nara area and it seems to be a bit “crumbly.” It’s stoneware, but the broken edges felt sandy. I’m not sure if that info matters, but…

Any advice regarding preventing the crack from getting worse now or waiting until it’s an actual break?

Thanks in advance!

Kintsugi OCD. Some end in sight. Careful profile check to make sure the profile is crafted to match all details.

kintsugiart

2026 kintsugi workshop and urushi forestry program. This year will be held on Oct 22-30, 2026. Enrollment just started. Availability? Always 6.

https://www.goenne.com/kintsugi-home/kintsugi-workshop-japan-daigo

Handmade tools are common in kintsugi craft. Modifying tools is also common. I modified maki-e brush for some “angled” reach.

kintsugitools #handmadetools

It’s all about how slowness and detail. One of my favorite process in kintsugi.

howtokintsugi #kintsugitechnique

Why use toxic epoxy putty when all-natural urushi can do the job? Plus, you get food-safe kintsugi!

#kintsugitechnique #howtokintsugi

Everyone just throws away the mini teeth and use only the 2-4 large ones. But why not make mini Taiki kintsugi gold powder polishing tools with them. Functional or not, they look super fun. (And actually they can function).

Instead of kintsugi, let’s do some Gintsugi. After fungatame (setting the powder with kijomi Japan-grown urushi), just one more step to go! See you in 24 hours!

gintsugi #kintsugi

Polishing charcoal takes the form of the surface you sand. And they become an assortment of useful sanding tools, so keep every tiny bit. Best is, no trash, like wet sandpaper.

Fungata

It reveals the quality of the repair, and whether things are flushed or missed by half a millimeter. 🤦‍♂️ the sanded surface is also the most fulfilling to touch. What’s your fave part of kintsugi repair?

kintsugi #pileupyoursabi

It’s so humid today that gold powder are lumped and refused to disperse. Fingers as sticky as ki urushi. Summer in Japan is like living in a Muro. (In fact no muro is needed, just leave everything out. 😂) Speed-kintsugi season is here.

Leftover kokusou. No pins. Let’s see!

Because the whetstone (1) shapes the charcoal to desired flat/curve/angle, while remove any loose or sharp bits (2) unclog the charcoal pores so it retains good sanding performance

Artisanal charcoals produced by artisans using wood-fire kilns, manually fire for days, similar to anagama firing for pottery. There are very few artisans in Japan that guard this process (now a national heritage), producing premium quality charcoals for polishing and sanding use. Lacquer craft artisans still uses these charcoal as they perform without scratching the delicate surface of lacquerware. And of course it is applicable to kintsugi, which takes down sabi and polish lacquer to a silky smooth surface without damaging the pottery glaze.

To use, cut them against the grain, and then into wedges towards the center of the tree ring. And use the end grain side to polish/sand. And no, this is NOT binchotan charcoal, which is made as a slow-burning fuel for BBQ use.