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We have published a new chapter of The KUST Handbook of Ceramic Sculpture, dedicated to forming, plaster mould-making, and slip casting.
This chapter explores how a ceramic object moves from an original idea to a repeatable form—and how casting can support creativity rather than replace handmade work.
Using our Eagle Ray ceramic wall lamp as an example, we explain the complete process: developing the design, creating a plasticine master model, making a plaster mould, casting the object with liquid clay, refining the ceramic form by hand, choosing a glaze, and preparing the piece for firing.
Slip casting is one of the most effective methods for reproducing complex ceramic forms.
Once the original master model and plaster mould have been created, the main shape can be cast repeatedly with consistent proportions. This saves time during the structural stages of production and allows the artist to focus on surface, decoration, colour, light, and new design variations.
However, using a mould does not mean that every finished object must be identical.
At KUST, the cast is only the foundation.
After the ceramic form is removed from the mould, it is still refined by hand. Edges are cleaned, details are adjusted, surfaces can be carved or textured, and openings for light are created individually.
Different cast elements can also be combined to create new compositions. The same base form may be finished with different patterns, colours, glazes, and decorative techniques.
The mould preserves the successful structure.
The artist continues developing the design.
Every mould begins with an original master model.
For the Eagle Ray lamp, the process starts with references, drawings, and a full-size paper template. We study the ray’s characteristic silhouette, broad fins, raised central body, and long tail before translating these features into a sculptural form.
The master model is created from plasticine because it remains workable and does not dry. This allows us to add material, reshape the volume, refine the anatomy, and correct the proportions as many times as necessary.
Once the model is complete, plaster is poured around it to create the mould.
Plaster is naturally porous. During slip casting, it absorbs water from the liquid clay, leaving a solid ceramic layer against the mould’s surface.
After the plaster has hardened, the plasticine model is removed and the mould is carefully cleaned and dried.
The dried mould is filled with ceramic slip—a liquid clay body formulated specifically for casting.
As the plaster absorbs moisture, a ceramic wall gradually forms inside the mould. The thickness of this wall must be carefully controlled.
If it is too thin, the form may tear or deform when removed. If it is too thick, the ceramic object becomes heavier and may dry unevenly.
Once the cast becomes firm enough, it is carefully released from the mould.
This is not the end of the process. It is the beginning of the hand-finishing stage.
After casting, mould seams and excess clay are removed. The silhouette is refined, small imperfections are repaired, and the form may be adjusted while the clay is still workable.
For the Eagle Ray lamp, the openings that allow light to pass through the ceramic body are created individually by hand.
Their size, arrangement, and rhythm influence both the appearance of the sculpture and the shadows it produces on the wall.
Even when several rays begin in the same mould, these handmade details ensure that no two finished lamps are completely identical.
The glaze creates another opportunity for variation.
The same sculptural form may look dramatically different with a glossy dark glaze, a soft matte finish, a natural stoneware effect, or a layered reactive surface.
Slip casting is also widely used in industrial ceramic production.
In factories, moulds allow manufacturers to produce large quantities of nearly identical objects. Standardised forms, glazing processes, and firing cycles reduce production costs and make ceramics more affordable.
This approach is ideal when consistency, scale, and price are the main priorities.
Artistic casting follows a different principle.
The basic form may repeat, but the artist continues working on every object after it leaves the mould. Hand-built details, textures, openings, glaze application, and firing effects allow each piece to develop its own identity.
Industrial casting uses the mould to complete standardisation.
Artistic casting uses the mould to create more possibilities for variation.
Alongside the new handbook chapter, we have created a detailed video showing the development of the Eagle Ray ceramic wall lamp.
The video follows the process from the first paper template and plasticine model to mould-making, slip casting, hand-finishing, glazing, firing, and the final illuminated sculpture.
The new chapter is now available in The KUST Handbook of Ceramic Sculpture.
It is part of our growing collection of practical ceramic guides based on real studio experience—from choosing the right clay body to forming, firing, glazing, and creating complex sculptural objects.
Our goal is to document the techniques, decisions, experiments, and lessons behind contemporary ceramic sculpture—and make this knowledge accessible to artists, students, collectors, and everyone interested in how ceramic objects are created.
Explore the new chapter:
Forming and Slip Casting in Ceramic Design
The mould remembers the form.
The hands develop the design.
Fire transforms the surface.
And light completes the sculpture.
