Large ceramic objects are a hallmark of Henryk Lula's work. The artist uses plaster molds to make elaborate solids. Plaster absorbs the moisture contained in the ceramic mass. The starting point for further work is a sphere. The artist carves out two hemispheres of the negative form with ceramic plastic mass, which, after fixation, are glued together. The next stage involves attaching sculptural elements such as feathers or openwork mesh pressed into smaller molds. This technique requires great care, as the material is very fragile. After each stage of molding, the objects are retouched and dried. Following the initial fixation of the raw material, the artist proceeds to the first bisque firing. Only at this stage does the work gain durability.

In his work, Henry Lula devotes great importance to the artistic expression of glazes. The artist achieves exceptional effects by using heavy metal compounds such as copper in the mixtures he develops.  Lula uses the technique of firing in a reductive atmosphere, which involves cutting off the air supply, in conjunction with copper glazes. Thanks to this technology, ceramic objects gain shiny surfaces of red, brown or green color.

Ceramics fixed during firing are usually covered with a layer of glaze, which forms an impermeable layer on the vessel. Its use, however, is not a necessity. Henryk Lula has developed a technology for working with colored clay mined in Kadyny near Elblag. Objects made using this technique are distinguished by their unique texture. After the first bisque firing, the artist hand-grinds the walls of the vessels to expose the grains and specks of light chamotte in the ceramic mass. This also gives the molds an exceptionally smooth, shiny surface.

Henrik Lula's ceramics are characterized by simplicity of forms. Ascetic shapes are diversified with a variety of glazes. The most interesting effects come from the juxtaposition of geometric forms with textural glazes. In addition to the juxtaposition of smooth surfaces with thick, fleshy glazes, the appeal of this decorative technique stems from its unpredictability. This is because the final effect is the result of reactions occurring during the melting of the glazes. Despite even the finest understanding of the technology, the artist cannot fully predict how the glazes may flow down the vessel.

One of the favorite glazing techniques used by Henryk Lula, is finishing the surface of the vessels with a silver reduction glaze. Traditionally ceramists used a silver nitrate solution to achieve this, but the mirror-like effect that resulted from such a process did not satisfy the artist. Lula used silver chloride, which he added to the composition of the glaze. In this way he created surfaces of great variety of silver stains with other colors.

For his ceramic works, Henryk Lula seeks inspiration from both the world of nature and science. He does not copy existing forms, but interprets their artistic qualities such as rhythms or tensions. To bring out and emphasize the simplicity of the shapes or their intricate details, the artist uses the technique of black terracotta. He developed the technique using clay from Kadyny with a high content of fireclay. After the first firing, the vessels were polished to expose the grains contained in the matherial. During the next firing at the highest temperature, the clay was reduced to a black color. The final polishing highlighted the differences in color intensity and gave the impression of a fuzzy surface.