With that issue in mind, a few months ago I hired my friend and colleague Shannon Tovey to create molds for my handles. Going in, it was important to me that we create something based on my original hand-built handle design, but even nicer. I needed to create a handle that was not only comfortable and matched my aesthetic, but one that would withstand the test of time. Basically – I wanted a handle that my hypercritical mind wouldn’t look at in a year and think “yuck, I can do better”.
Initially I planned to make the handles and have her just make a mold from that original, but on my end, I was having issues making that happen. Shannon suggested, gently, that we might try 3D modeling the handle. I was grateful to have the responsibility of creating a perfect model off of my plate, so right away I sent her a mug with a handle that I felt emulated what I wanted.
Using technological know-how and hard-earned skills that I can’t fathom; Shannon was able to then translate that physical handle onto a mug on a screen. She sent me the renderings, and I printed them out to draw on them and show what I wanted to be slightly different. We discussed the cross-section, the handle size (2-3 finger grip) and pulled back and forth the aesthetic qualities and the ergonomic qualities until she found something I was completely happy with in print.
From there, I needed to see it in person and to hold it in my hand. My clay body shrinks by 13% through firing, so Shannon had the handle 3D printed in the size that the handle would be post-firing and sent straight to me. I was able to see it, scrutinize it, and hold it up to a glazed mug to see if it was what I really wanted. As you may guess by now, it was.
If you are unfamiliar with slip casting, a “model” refers to the original piece that a mold maker will make a mold off of. Basically, it’s the thing that you pour plaster around. Once I had approved the model, a few things were able to quickly be set in motion. Shannon was able to render and print the scaled-up model for mold making as well as a model for the mold itself, and then she made the most gorgeous, perfect molds.
If you are new to slip casting or ceramics you may think – who cares if the mold looks good? And before spending years working in a casting studio, I felt the same. The mold’s aesthetic qualities, however, are significant. Not only are they a signifier of the skillset of the mold maker, but they exemplify the success you will have when you successfully cast a gorgeous piece with no dimples and with tight seam lines that are easily cleaned up.
I had initial intimidation while casting these handles. Although I have spent a lot of time learning about slip casting in the abstract, learning something through practice is a completely different thing. Because I had hired a mold maker instead of giving it a go on my own, I quickly found that Shannon had already done all of my problem solving for me – resulting in an extremely high success rate on my end.
Through my first batch of work with these molds I was able to make more mugs, which is obviously the financial goal that justifies the cost of the mold maker. Even more than that though, I was able to spend more time doing what I love, which is decorating and being creative with my work. My goal as a potter is to not lose the art or the creativity and to not feel like a one-woman porcelain factory – and taking out the laborious task of handle-making achieved that goal.
Seconds, or slightly flawed work that cannot be sold, are absolutely inevitable in ceramics. Post-firing, when I tallied up the number of mugs I made in the batch and subtracted the seconds, I found that my seconds rate in mugs had dropped dramatically from 25% to 5%. In that success increase alone, the molds paid for themselves.
All in all, this is a peek into this process because I know many artists are intimidated by slip casting. I also know a lot of potters that struggle with demand or a high seconds rate. This has made a huge difference in my business in an incredibly short span of time, and I want people to know about it. There is a lot of pride in being an artisan who is isolated and can do everything 100% independently, but in my thoughts if you can hire someone to amplify what you do best - do that.
Additionally, this is an explanation to those who have hang-ups about slip casting their work or artists who incorporate slip casting because of the ties it has to manufacturing. I know many potters who slip cast their work but make a point not to advertise it because of this stigma. I can assure you, my work is 100% handmade with or without a slip cast handle. A mold is no more than a tool, just like my potter’s wheel or my kiln – both of which I cannot make my work without.
I also feel compelled to say this post is not sponsored in any way by Shannon or by slip casting, just a process that I found incredibly interesting and helpful. To learn more about Shannon Tovey and her work, take a look at shannontovey.com
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