// SLI P C AST ING STE P B Y S TEP

Slip casting step by step

4| height on top of a container. The
Place two wooden sticks of uneven
The
uneven height is important because this
allows the slip to run down the sides
A slip-cast object is a satisfying thing. It is the reward of and prevents stalactite droplets from
forming in the base. Turn your mold
all the investment of time making the model and molds. upside down and place on the sticks.
Leave to drain; do not reverse the mold

1| blunger or with a handheld blender.

Prepare the slip by mixing in a too soon s this can cause wet areas to
run back; the cast should have a matt,
Ensure the mold is completely dry and waxy sheen.
place a tight rubber band or cord around
the outside. This will prevent the mold
from opening once it is full of slip. If
your mold does not have a spare (see
p. 93), place a coil of clay around the top
of the mold to create a slip reservoir.

2| molds, have a couple of jugs of slip

Fill a plastic jug with slip. For large

on standby so a continuous pour can

be maintained. Pour the slip carefully
into the mold. Aim for the center and
not the sides. Pouring too fast can cause
casting spots or swirl marks. Pouring
too slowly risks filling lines or causing
variations in thickness. Fill the mold
and keep topping up the slip reservoir.

| Once the cast is touch-dry and has

a matt sheen, trim away the spare 6| to 1 hour. Discard your first cast as
Empty the mold after 30 minutes

with a sharp scalpel. A blunt knife will this may be contaminated with plaster.
ause the cast to crack. Be careful not to
ut or scratch the mold. Tidy and sponge

3| slip, size of mold, and consistency of

Casting times vary on the type of he rim.

7| hard or green state, remove seam

slip. Allow approximately 20 minutes for When the cast has dried to leather-
an earthenware and semi-porcelain body. Techniques to try The finished cast will appear to have
Bone china and porcelain take much less Casting slip can be colored with the a flush decoration in the surface. lines with a sharp knife or scalpel (this
time, approximately three minutes. After addition of 10% stain to 2 pints (1 liter) is known as fettling) and sponge the area.
this time, the slip can be tipped out. This of slip. Try experimenting with painting To emboss the cast, lightly scratch into andle the piece as little as possible.
should be done steadily—not too slowly, or slip trailing colored slip inside the the plaster mold and brush away any
as this can cause draining marks, and not mold before filling the mold with loose bits of plaster. Secure the mold
too fast because this can create a suction white slip. and fill with slip.
that can pull the cast away from the
mold. If you hear a glugging sound, tip
back the mold slightly and ease the flow.
  // GAL LER Y: S LIP CAS TI NG A ND MOL DS

Gallery: slip casting and molds Ruth Borgenicht (USA)

Gray Moon, 2008
H: 15in (38cm), W: 13in (33cm),
D: 5in (12.5cm)
Stoneware; slip-cast, unglazed,
colored casting slip; fired to 2372°F
(1300°C/cone 10)
Christie Brown (UK)
This artist uses the chain-mail
Entre Chien et Loup, 2003/4
pattern and other woven patterns
Each figure H: 51in (129cm),
to create ceramic works that
W: 10in (25cm), D: 10in (25cm)
conjure up a sense of permanence
Ceramics and mixed media
and defensive concealment.
Brown’s work encapsulates an
ongoing interest in multiples,
repetition, and the metaphors
associated with molds.

 James Rigler (UK)

Valley, 2007
Sasha Wardell (UK) Maria Lintott (UK)
Approx. 9ft 10in (3m) by 6ft 6in (2m)
Large Shoal Vase, 2008/10 Bloom Jugs, 2009
Glazed earthenware;
H: 15in (38cm) H: 3in (8cm),
press-molded ceramic; plaster
Slip-cast bone china, layered and Dia: approx. 3½in (8.5cm)
molds taken from sledged/lathed/
incisedwith colored/stained Slip-cast fine bone china with
assembled plaster models, then
casting slips hand-applied floral sprigs
press-molded, bisqued, and glazed
The layout of the elements means
the piece can vary in size and
shape to interact with its site.