{"id":21291,"date":"2026-06-16T13:47:50","date_gmt":"2026-06-16T11:47:50","guid":{"rendered":"https:\/\/grandchose.com\/the-steps-of-making-a-ceramic-cup\/"},"modified":"2026-06-26T14:44:22","modified_gmt":"2026-06-26T12:44:22","slug":"the-steps-of-making-a-ceramic-cup","status":"publish","type":"post","link":"https:\/\/grandchose.com\/en\/the-steps-of-making-a-ceramic-cup\/","title":{"rendered":"From Clay to Cup: My Making Process"},"content":{"rendered":"

Making a Ceramic Cup: A Story of Gestures<\/h2>\n

There are several ways to start making a ceramic cup. Some people work on the wheel, others use molds to go faster. For my part, I chose the slab method. <\/p>\n

It’s a freer, more intuitive technique. It allows for small variations, traces of the hand, that lively quality I love to find in each piece. Nothing is fixed, nothing is completely identical. And that’s precisely where it all comes together. <\/p>\n

In my workshop, every cup begins the same way: a mass of clay, still raw, still full of possibilities.<\/p>\n

Preparing the Clay Slab<\/h2>\n

To start making a ceramic cup, I begin by passing the clay through a slab roller. It’s a simple, yet essential machine that allows me to obtain a large, even slab. <\/p>\n

The movement is almost mechanical, but my gaze remains attentive. The thickness must be just right: neither too thin nor too thick. It’s a balance I adjust almost by feel, with practice. <\/p>\n

Once the slab is ready, I don’t touch anything else. This is an often invisible, but fundamental step. I wait. <\/p>\n

The clay slowly evolves. It dries, hardens, changes texture. And then comes that precise moment: the leather-hard consistency. It’s a somewhat magical instant when the clay becomes perfect for working. <\/p>\n

It no longer sticks to the fingers, but it remains flexible. It still accepts being formed without resistance. If I work it too early, it deforms. Too late, it breaks. You have to hit the right moment. <\/p>\n

\"ceramic<\/p>\n

Cutting the Shapes at the Right Time<\/h2>\n

When the clay is ready, I move on to cutting.<\/p>\n

I use templates, which I place directly on the slab. It’s a simple, but very precise gesture. Each cut shape will be the starting point of the cup. <\/p>\n

Flat cutting has something very graphic about it. The pieces appear one by one, as if they were already there, hidden in the slab. <\/p>\n

It’s also a moment where I deliberately slow down. A poorly made cut will inevitably show later. Here, I’m preparing for what’s next. <\/p>\n

\"making<\/p>\n

Giving Volume to the Cup<\/h2>\n

Once the shapes are cut, I give them volume. This is a step I particularly enjoy. <\/p>\n

I take each slab and gently curve it. No sudden movements. The clay must follow, not be forced. It retains a memory, and if you force it, it shows. <\/p>\n

To achieve a regular shape, I work around a cylinder. It guides the curve, allowing for that simple and balanced silhouette. <\/p>\n

In parallel, I prepare the bases of the cups. I shape them separately, then I apply the Grandchose seal. It’s a small, almost discreet imprint, but it’s part of every piece. <\/p>\n

At this point, the cup truly begins to exist.<\/p>\n

\"ceramic<\/p>\n

Assembling and Solidifying the Piece<\/h2>\n

Assembly is undoubtedly the most delicate step in making a ceramic cup.<\/p>\n

I connect the different parts with slip, a liquid clay paste made from the same clay. This is what will allow the piece to become solid, as if it had always been a single block. <\/p>\n

I work with simple gestures: pressing, smoothing, adjusting. The wooden spatula is my main tool here. <\/p>\n

You have to find the right balance: press firmly enough to join, but without deforming. It’s a work of precision, but also of feel. <\/p>\n

Thanks to the leather-hard consistency, the clay accepts this assembly without losing its shape. This is what allows for a stable cup, free of tension. <\/p>\n

Refining with Trimming<\/h2>\n

Once the cup is assembled, I move on to trimming.<\/p>\n

This is a somewhat distinct step, where I use the wheel, not to shape the piece, but to refine it.<\/p>\n

I remove excess material, soften the lines, balance the proportions. I mainly work on the edges and the base to give a cleaner finish. <\/p>\n

It’s a calmer, almost meditative moment. It’s all about the details. About adjustment. <\/p>\n

It’s often here that the cup finds its true presence.<\/p>\n

Drying Time<\/h2>\n

Once the cups are finished, they need to dry.<\/p>\n

This is an unseen but essential step in making a ceramic cup.<\/p>\n

The clay must lose its moisture slowly. Too fast, it cracks. Not enough, it remains fragile. <\/p>\n

In the workshop, I monitor without intervening. I sometimes adjust the environment, but mostly I let time do its work. <\/p>\n

This phase requires patience. And in an artisanal process, patience is part of the result. <\/p>\n

\"shaped<\/p>\n

Slab Method or Wheel Throwing: Two Different Approaches<\/h2>\n

People often ask me why I don’t use the wheel to make my cups.<\/p>\n

Wheel throwing produces very regular, very symmetrical pieces. It’s an impressive technique, almost mesmerizing to watch. But it also results in a smoother, more standardized finish. <\/p>\n

With the slab method, the result is different.<\/p>\n

The lines are a little freer, the shapes slightly unique. You might see a variation, a detail that changes from one piece to another. This isn’t a flaw; it’s precisely the appeal. <\/p>\n

This is what gives it that handmade look, that lively character.<\/p>\n

I’m not looking for industrial perfection. I’m looking for a form that is just right, balanced, but with a presence. A cup that has something extra, without necessarily being able to explain it. <\/p>\n

More Than Just a Cup<\/h2>\n

Ultimately, making a ceramic cup isn’t just a series of steps.<\/p>\n

It’s an accumulation of small choices, repeated gestures, and attention paid to every detail.<\/p>\n

Each cup that emerges from this first shaping phase is already unique. But it’s not yet finished. It still needs to undergo a first firing, then receive its decoration with pencil or brush<\/a>, be glazed, and finally be fired a second time. <\/p>\n

It’s only at the end of this entire process that the piece becomes complete.<\/p>\n

And that’s exactly what I want to convey.<\/p>\n

A simple, everyday object, but one that carries within it time, material… and a whole series of invisible steps that give it its character.<\/p>\n

\u2192 Discover the entire range of ceramic cups and mugs<\/a><\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

From raw clay to the shaped, ready-to-fire cup: discover how a ceramic cup is made in my workshop in Provence.<\/p>\n","protected":false},"author":1,"featured_media":21292,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[57],"tags":[],"class_list":["post-21291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-making-studio"],"acf":[],"yoast_head":"\nThe Steps of Making a Ceramic Cup | Grandchose<\/title>\n<meta name=\"description\" content=\"From raw clay to the shaped, ready-to-fire cup: discover how a ceramic cup is made in my workshop in Provence.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/grandchose.com\/en\/the-steps-of-making-a-ceramic-cup\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Secret of Grandchose Cups: The Slab Method.\" \/>\n<meta property=\"og:description\" content=\"Today, I'm taking you behind the scenes of the workshop to show you how Grandchose cups come to life. 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