Deiniol believes that the handling of the work is very important in its communication. He tries to develop imperfections such as uneven glazes, or by introducing foreign substances into the clay such as stones and other minerals. The balance between control and chaos is what Deiniol finds so appealing with wood-firing.

Wood-firing has a way of transforming the clay and glaze surface depending on where the pots are placed in the kiln, the length of firing, and also the type of wood used. Due to the large amounts of wood used a certain amount of fly-ash is produced which drifts through the kiln and lands on the various surfaces and interacts with the glaze and alters the clay's colour and texture.

The process of wood-firing is not a separate entity but an integral part of the making process.