Lops
Slip Casted Plates
Define
The Izaka Plate Series explores the intersection of form precision and subtle irregularity through ceramic slipcasting. Drawing from the original Izaka design language, each plate introduces slight shifts in axis and profile, embracing variation within a controlled system. The project investigates how industrial processes can be used to create nuanced, sculptural forms, merging mass-production with the uniqueness of objecthood.
Design
This form study began as a 3D-printed prototype, serving as a reference for refining volume, proportion, and surface behavior. Initially designed with a symmetrical stance and level ground contact, the piece was later reinterpreted in high-density foam with a deliberate 15-degree axis tilt—introducing a sense of dynamic imbalance and spatial tension. The transformation explores how subtle shifts in orientation can influence visual weight
The casting phase began with a timed pour of low-fire ceramic slip into a two-part plaster mold, developed from a hand-carved foam prototype and clay master, secured using wooden formwork. Achieving consistent wall thickness required developing an intuitive understanding of dwell time—typically around two minutes. Early iterations revealed the material’s sensitivity: if left too long, the cast would become overly thick, compromising structural integrity during demolding and often collapsing under its own weight
Making the mould
Production
Once removed from the mold, each piece is left to air dry until it reaches a semi-leather-hard state—typically around 60% dryness—where it becomes structurally stable yet still workable. At this stage, surface refinement is most effective, allowing for precision sanding and the removal of minor imperfections. Waiting until the piece reaches a fully bone-dry state significantly increases the risk of fracturing, as the material becomes brittle and far less forgiving to manipulation.
Firing
Following the bone-dry stage, the forms are kiln-fired in a bisque cycle—solidifying their structure while preserving surface detail. At this point, the clay body shifts to a pale, chalk-like tone and becomes less workable, requiring precision in any final surface refinement. A series of glaze tests were conducted to study the transformation of color and finish from raw application to post-firing results—accounting for the often unpredictable shifts in hue. The final glaze—a transparent green—was selectively sanded along the rim, revealing a subtle pattern through controlled removal. These pieces were then prepared for their final glaze firing, completing the ceramic finishing process.