The interesting thing was that he specifically wanted a Raku surface- he'd seen one of my planters and liked the surface.
This is not a desirable thing. To quote 'Mastering Cone 6 glazes' (an excellent glaze formulation guide) 'we are not in the food supplement business'.
Mineral leaching would be particularly problematic for work glazed with legitimately toxic materials (i.e. barium, or- heaven forbid- lead). Fortunately, none of my glazes are dependent on nasties like these. I wouldn't want to evoke the Roman empire and their collective lead-driven dementia.
The Japanese have used Raku ware for the tea ceremony for hundreds of years... mainly in a ceremonial setting. 'Ceremonial' is probably the key... I don't think you'd want to use Raku-ware for your daily table, but occasional use (assuming benign ingredients) should be fine.
Here's the first result- Stellar Sea Lion carving. I used a commercial glaze (Duncan Envision, cranberry) on the interior.
I've been realizing, of late, that there's something to be said for predictable color and texture. I love the volatility and variability of my raku glazes... but there's also merit to slapping on a glaze that you know is going to be a rich red, irrespective of conditions in the kiln.
I was a bit worried that the uniform red would clash with the effect of the variegated, complex surface on the main body of the mug (a turquoise crackle glaze from Gary Ferguson).
I think it turned out OK. I can see some careful, profound expansions of my glaze palette on the horizon.
I have four more of these guys that I still need to Raku fire. I hope they come out this interesting.