In the 10th century, the Sanage kilns spread in areas of the Chita peninsula and Mikawa. In Seto, which was a northern neighboring area, ash glaze pottery began to be produced. Ash glaze pottery was only being produced for neighboring areas at the time. It varied in sizes and shapes, and inlcuded small to large bowls. It has been further recorded that a green glaze was introduced around this time, however, in the mid-eleventh century, mass production progressed and the shapes were simplified to a limited number of products.

During the 11th century, the Sanage kiln and the pottery area of the Tokai region temporarily abandoned their glazing technique. During this period, an unglazed bowl called “yama chawan”, which translates to "mountain tea bowl”, was produced and distribted to neighboring areas for daily use. Even after the reappearance of glazed pottery in the latter half of the 12th century, they continued to be produced in parallel to glazed pottery, and served as a foundation for the pottery industry in the Kamakura and Muromachi periods. The mountain tea bowl was categorized in two types: finely textured pieces from the Tono region, and coursely textured pieces from the Owari region.

From the early Kamakura period, including the production of mountain bowls, production of new glazed pottery called “Koseto(Old Seto pottery)” flourished. Production centered around creating the shijiko “four ear” pots, bottles, and vessels for replenishing ink stones. The demand for tiles, buddhist memorials, and crane bowls from temples in Kamakura and the Tokai region increased during this period, and many old kilns in the Seto area were used for production. The Sanage Kiln, Chita kiln, Atsumi kiln, In Kosai kiln were able to produce for these unique pottery needs. In particular, the Seto kiln was the only kiln in Japan to not only fire glazed pottery, but also large pots and bottles, as well as Buddha vases and incense burners.

In the late Kamakura period, pottery pieces that included an iron glaze in addition to an ash glaze were created. Furthermore, a variety of decorative patterns were applied through stamping, adhering, and drawing, resulting in ornate forms of pottery. In the Muromachi period, tools such as bowls and small dishes were diversified, and functional products such as cookware and cooking utensils became the center of production. In addition, as a result of the Ming Dynasty's policy on sea prohibition, there was a decline in the volume of Chinese ceramics that were imported. The production and distribution of daily household items and tools was expanded to cities, harbors, and feudal estates throughout the country.

With the development of kilns, the use of traditional tools decreased, new developments such as the Omuro tea bowls and Koshi Sabi tea bowls were seen. In addition, the production characteristics and speciality of each village became clearer during this period. In Seto village, furniture and lighting fixtures, In Akazu Village and Shimo Shinano Village the mortar, storage equipment, and cooking utensils, in Shimohadagawa Village incense burners, and tools and equipment for religious rituals were produced respetively. While mass production for daily goods was moving forward, one-off pieces were also being produced by master potters. These special pieces were actively produced in the late Edo period (Bakumatsu period 1853-1867) in each village, many of which have been passed down. In the middle of the Edo period, there were new developments in response to a stagnant market, and many functional household items such as hibachi (braziers), bingake (instruments used in tea ceremony), and lighting fixtures were produced.

The strong force of production for porcelain began in the late Edo period. The kind of pottery that was in the mainstream market was Hongyoyaki, and the new kind of porcelain pottery was referred to as Sometsukeyaki or Shinseiyaki. Traditionally, pottery making was only allowed by the eldest son, but with the new Shinseiyaki, it was possible for any son to be part of the process, and this accessibility gave strength to surpass the traditional Hongyoyaki production. With Seto's porcelain making, gosu (smalt) pigment dyeing became central. With the guidance of Yokoi Kinkoku (Nanga and Japanese painter and cultural writer), the Seto dyeing style became established. Tamikichi Kato and the Kichiemon brothers, Kato Chuji, Kawamoto Jihyoe (second and third generation), Kawamoto Hansuke (fourth generation) are some of the notorious creators of the time.

From mid to late Meiji era(Meiji era:1868-1912), the infrastructure of what became the foundation of Seto ceramics, came into play with the introduction of new machinery and electricity. The changes in pottery making were most evident in the pottery wheel (rokuro), which changed from being run manually to being machine-run. The kilns, which were once fired with wood, moved on to coal and oil. The framework and infrastructure for mass production was soon established to produce sanitary ware, insulators, physicochemical supplies, architectural ceramics, and novelty items. In addition, household items for dinning and cooking, as well as accessory items were produced. “Touto Seto (The City of Pottery)” was established with the expansion of a railway system as were pottery schools and ceramic laboratories.