Our Materials

Every Myrth piece begins with our own porcelain. We formulate the clay body ourselves, from raw minerals, in our studio in Providence, Rhode Island. It is dense and low in expansion, which gives it restaurant-grade resistance to chipping and cracking and lets it hold heat longer than standard ceramics. Food stays warmer from the kitchen to the table.

We wear-test every clay recipe before it goes into production. We eat off it at home for months, and we put it into working restaurant kitchens, where a year of ordinary use happens in a few weeks. A recipe that comes back looking tired does not become a Myrth piece.

Every glaze starts as a base recipe developed here, then goes through rounds of micro-batches and firing tests for color, surface, and depth. Most studios mix glaze. We develop it, and the difference shows in the result: surfaces with depth rather than coatings with color. We keep retesting the core glazes long after they are in production, because consistency across years of reorders is the point. If you want the longer version of how that works, we wrote about it in The Art of Glaze Design at Myrth.

Because we write the recipes, we know exactly what is in them. Lead and cadmium never have been. Not in a production color, not in a test batch, not once. A studio working from commercial glazes is taking a supplier's word for that. You don't want those materials in your kitchen, and we don't want to handle them in the studio where we work every day.

Our palette moves slowly on purpose. The six Core Colors below stay, so there is time to build a collection at your own pace. Studio Editions are seasonal glazes that run for a window and then retire. Occasionally a materials shortage will shorten a run.

All of it is dishwasher, microwave, and oven safe, starting in a cold oven and heating gradually. Over time, silverware can leave faint marks on the glaze surface. They lift with a powdered cleanser like Bon Ami on a damp sponge or a Scotch-Brite pad.