Preparing the Clay
A quiet beginning.
Before clay can take shape, it must first be made ready.
The clay is worked to create an even texture, balance its moisture, and release trapped air. This simple beginning gives the piece a steadier foundation for everything that follows.
Forming the Shape
Where an idea begins to take form.
Some pieces are thrown on a wheel, some are shaped by hand, and others are formed with the help of a mold.
However the form begins, proportion matters. The curve of the body, the openness of the rim, and the space held inside all influence how the finished piece feels in everyday life.
Trimming the Form
Finding balance in the details.
Once the newly formed clay has firmed up enough to hold its shape, excess material is carefully trimmed away. The rim, base, and curve of the body are refined to bring greater balance and clarity to the form.
These small adjustments influence not only how the piece looks, but also how steadily it sits and how naturally it feels in the hand.
Making & Attaching the Handle
Where the piece meets the hand.
The handle is shaped separately before being attached to the body. Its curve, thickness, and position all influence the comfort and balance of the finished piece.
Once attached, the handle and its joins are carefully smoothed and refined by hand. It is a small part of the process, but one that shapes every future moment of lifting, holding, and drinking.
Cleaning the Clay Body
Preparing the surface.
Before the piece is left to dry, its surface is gently cleaned to remove loose clay particles and fine residue from the forming process.
This leaves the surface cleaner and more even as the piece moves toward its first firing.
Slow Drying
Some stages cannot be hurried.
The newly formed piece is left to dry slowly and evenly.
This quiet stage allows moisture to leave the clay without placing too much stress on the form. Handles, rims, and joined areas need particular care as the piece gradually changes from soft clay into a dry and fragile body.
First Firing
The first meeting with fire.
Once completely dry, the piece enters the kiln for its first firing, also known as a bisque firing.
The clay that goes in is delicate and easily marked. What comes out is firmer, more stable, and ready to receive color and glaze. It is the first moment when the shape begins to feel lasting.
Hand-Painting
Marks that give a piece its character.
For pieces with painted decoration, each design is applied by hand, one brushstroke at a time. A line, a leaf, or a small flower gradually brings the surface to life.
The pressure, rhythm, and direction of the brush become part of the finished piece, creating subtle variations from one piece to another. These small differences are traces of the hand behind the work.
Second Firing
An additional firing for color and surface.
After hand-painting and decoration, the piece returns to the kiln for a second firing.
This additional firing is a deliberate part of our process. It helps the painted colors become more stable, refines the surface, and reduces the appearance of fine pinholes. It also creates a smoother foundation for the glaze that follows.
Glazing the Surface
A surface waiting to be revealed.
Glaze is carefully applied to the piece, often by dipping, depending on the form and intended finish.
Once the glaze has dried, the piece is prepared for the kiln. At this stage, the glaze gives little away about its final appearance. Only through firing will its color, depth, and finish fully emerge.
Final Firing
Where clay, color, and glaze come together.
Where clay, color, and glaze come together.
The glazed piece is carefully loaded into the kiln for its final firing at around 1,300°C. Under intense heat, the glaze melts and bonds with the clay body, transforming the piece into a durable ceramic surface.
As the kiln reaches its highest temperatures, colors deepen, textures emerge, and the glaze develops its final character. Each firing may bring subtle variations, making every piece uniquely its own.