Daybreak began as a mistake. A test tile came out of the kiln with a blush of pink fading into cream — nothing like the flat grey we had been chasing. We almost binned it.
Instead we pinned it to the studio wall and stared at it for a week. There was something in that gradient, a softness that felt like the first ten minutes of morning before the day has decided what it wants to be.
It took the better part of a season to make the accident repeatable. Glaze chemistry is unforgiving, and a result that arrives once can be maddeningly hard to summon again. We adjusted, fired, failed, and adjusted again.
Now Daybreak is one of the glazes we are most proud of, precisely because it refused to behave. Every piece still varies, which we have stopped apologising for. The variation is the point.
