It’s hard to remember exactly why I was so drawn to making lamps in particular. I’ve always loved interior design, and when I was younger I adored wandering around lighting shops. They always felt slightly magical to me. There is something special about lighting that completely transforms the atmosphere of a space. A room can feel entirely different depending on whether you’re using a cool white bulb or a warm yellow one.
I love the role that lamps play within a home. They’re functional, but they also create mood, comfort, and personality. What I never loved, though, was how similar most lamps looked. I wanted to surround myself with furniture that felt alive. Almost like another member of the family. Something with its own personality that quietly lives alongside us. That’s why many of my lamp designs have legs, directional movement, or textured surfaces. They borrow heavily from my monster sculptures, giving them a slightly surreal quality that makes them feel playful rather than purely functional.
Designing My Lamps
Nature is my biggest source of inspiration. I love biomorphic shapes, soft curves, and organic textures, and those influences appear in almost every design I make. Alongside aesthetics, though, I also have to think like a business owner. Every lamp needs to be beautiful, but it also needs to be reproducible.
When I started my business, every single lamp was handbuilt. Although I still love handbuilding, it’s an incredibly time-consuming process, and it’s difficult to recreate exactly the same form over and over again. After surviving a particularly hectic Christmas rush during my first year in business, I realized that producing handbuilt lamps at a competitive price simply wasn’t sustainable. If I wanted to grow my business without sacrificing quality, I needed a different approach.
Why Slip Casting?
I remembered learning about slip casting at university as a way of reproducing ceramic forms. At the time, I’d only been taught how to make two-part plaster molds, which meant every design had to fit within those limitations—that can be seen as a restriction or as a creative challenge!
Fortunately, most of my designs begin as simple 2D sketches, making them relatively easy to adapt into two-part molds. I started with my simplest lamp designs and gradually worked my way up to creating molds for increasingly complex pieces.
Ceramics Meets Business
One of the biggest lessons I’ve learned, both as a ceramic artist and as a business owner, is knowing what I’m good at, and recognizing when someone else can do something even better.
I can make my own molds, and in the early days I did, but professionally made molds are simply better. They’re more accurate, more durable, and produce far more consistent casts.
My process now is usually to make the first version of a lamp and create an initial mold myself. If the design proves popular, I’ll invest in having a professional mold made (www.cpceramics.co.uk), often followed by a silicone production mold that can be used to make repeat molds for years to come, as plaster molds do wear out over time. That decision has become the backbone of my business.
Slip casting gives me a reliable product range that almost runs in the background, creating a steady income while freeing up time and creative energy to experiment with new sculptures and one-off pieces. So, let’s make a lamp.
Slip Casting the Lamp
Begin by preparing the mold. Using a slightly damp sponge or cloth, thoroughly clean the inside of the mold. Remove any dust, dried clay, or debris, as even tiny particles can show up on your finished cast (1). Next, assemble the mold and fasten it tightly. I’ve found that old bicycle inner tubes work brilliantly for this. Tip: Most bike repair shops are happy to save worn-out tubes for you if you ask. Then, for extra security, press a thin coil of clay along the seams. This helps prevent any slip leaking once you begin pouring.
Now prepare the slip. I use shop-bought casting slip. Mainly because my studio is fairly small, and I need the slip to behave consistently every single time. Buying ready-made slip removes one more variable from the process. Using an electric drill with a mixing attachment, mix the slip for one to two minutes until it reaches the consistency of double cream. Before pouring, tap the side of the bucket several times. This helps encourage trapped air bubbles to rise to the surface.
Pour the slip slowly and steadily into the mold (2). Taking your time allows the slip to flow into every corner and helps minimize trapped air. Once filled, leave the mold undisturbed while the plaster absorbs moisture from the slip. This creates the ceramic wall or “shell” of your lamp. With the slip I use, this usually takes around 20 minutes, but every casting slip behaves differently, so expect a little trial and error before finding the perfect timing. You can determine the timing by checking the wall thickness at the pouring hole, known as the gate. As the slip recedes and before you refill the mold with slip, use a knife to cut out a small triangle from the gate wall or use your needle to check the thickness.
When you’re confident the wall is thick enough, slowly pour the remaining casting slip out of the mold and back into the bucket (3). Don’t rush this stage. If you hear a loud “glug” as the slip empties, you’re pouring too quickly. Emptying the mold too fast can weaken the freshly formed shell and, in some cases, cause it to collapse.
Allow the mold to continue drying. I usually leave mine for around five hours. Before demolding, cut around the edges of the gate to remove the overflow section (4).
Cleaning and Prepping the Cast
And there it is . . . your lamp form (5)! Now it’s time to transform it from a raw casting into something ready for firing.
When the clay reaches a firm leather-hard stage, carefully trim away the seam lines and any rough edges using a sharp knife. Next, go over the entire form with a damp sponge until the surface feels smooth and even (6).
It’s easy to become so focused on the ceramic form that you forget it will eventually become a working lamp. Cut all the necessary openings: one in the top for the lamp fitting and one near the base for the cable to exit (7). Make the opening at the top of the lamp slightly larger than the lamp fitting itself. This hole will be concealed by the nut cover, so it doesn’t need to be an exact fit.
Finally, flatten the bottom by moving the piece in a figure-eight motion across a wooden board covered in hessian fabric (8). Tip: Wet the hessian first. It makes the process much smoother and prevents the clay from sticking. It also prevents dust from forming. Once you’re happy with the form, allow it to dry completely before bisque firing and glazing.
Lamp Assembly
A basic lamp only needs a handful of parts—available online or at lighting supply stores. Once you have gathered these components, you’re ready to assemble your finished lamp. See the diagram above to learn how I put my lamps together and how the fittings sit within the ceramic form.
Once my lamps are fully assembled, I add felt to the bottom. This helps prevent the internal wiring from being visible through the feet, reducing the risk of tampering and giving the lamp a more finished appearance. It also protects the surfaces on which the lamps are placed. Another important tip is to consider the weight of the lamp. In ceramics, we are often encouraged to make our work as lightweight as possible, but I believe lamps benefit from having a little extra weight. A heavier base makes the lamp more stable, gives it a stronger presence, and helps it feel like a well-made, substantial object.
Hannah Simpson is a ceramic artist and founder of Hannah Simpson Studio. Her work combines playful forms, bold color, and tactile textures, creating distinctive ceramic sculptures and lighting that explore humor, character, and the connection between art and everyday life.
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It’s hard to remember exactly why I was so drawn to making lamps in particular. I’ve always loved interior design, and when I was younger I adored wandering around lighting shops. They always felt slightly magical to me. There is something special about lighting that completely transforms the atmosphere of a space. A room can feel entirely different depending on whether you’re using a cool white bulb or a warm yellow one.
I love the role that lamps play within a home. They’re functional, but they also create mood, comfort, and personality. What I never loved, though, was how similar most lamps looked. I wanted to surround myself with furniture that felt alive. Almost like another member of the family. Something with its own personality that quietly lives alongside us. That’s why many of my lamp designs have legs, directional movement, or textured surfaces. They borrow heavily from my monster sculptures, giving them a slightly surreal quality that makes them feel playful rather than purely functional.
Designing My Lamps
Nature is my biggest source of inspiration. I love biomorphic shapes, soft curves, and organic textures, and those influences appear in almost every design I make. Alongside aesthetics, though, I also have to think like a business owner. Every lamp needs to be beautiful, but it also needs to be reproducible.
When I started my business, every single lamp was handbuilt. Although I still love handbuilding, it’s an incredibly time-consuming process, and it’s difficult to recreate exactly the same form over and over again. After surviving a particularly hectic Christmas rush during my first year in business, I realized that producing handbuilt lamps at a competitive price simply wasn’t sustainable. If I wanted to grow my business without sacrificing quality, I needed a different approach.
Why Slip Casting?
I remembered learning about slip casting at university as a way of reproducing ceramic forms. At the time, I’d only been taught how to make two-part plaster molds, which meant every design had to fit within those limitations—that can be seen as a restriction or as a creative challenge!
Fortunately, most of my designs begin as simple 2D sketches, making them relatively easy to adapt into two-part molds. I started with my simplest lamp designs and gradually worked my way up to creating molds for increasingly complex pieces.
Ceramics Meets Business
One of the biggest lessons I’ve learned, both as a ceramic artist and as a business owner, is knowing what I’m good at, and recognizing when someone else can do something even better.
I can make my own molds, and in the early days I did, but professionally made molds are simply better. They’re more accurate, more durable, and produce far more consistent casts.
My process now is usually to make the first version of a lamp and create an initial mold myself. If the design proves popular, I’ll invest in having a professional mold made (www.cpceramics.co.uk), often followed by a silicone production mold that can be used to make repeat molds for years to come, as plaster molds do wear out over time. That decision has become the backbone of my business.
Slip casting gives me a reliable product range that almost runs in the background, creating a steady income while freeing up time and creative energy to experiment with new sculptures and one-off pieces. So, let’s make a lamp.
Slip Casting the Lamp
Begin by preparing the mold. Using a slightly damp sponge or cloth, thoroughly clean the inside of the mold. Remove any dust, dried clay, or debris, as even tiny particles can show up on your finished cast (1). Next, assemble the mold and fasten it tightly. I’ve found that old bicycle inner tubes work brilliantly for this. Tip: Most bike repair shops are happy to save worn-out tubes for you if you ask. Then, for extra security, press a thin coil of clay along the seams. This helps prevent any slip leaking once you begin pouring.
Now prepare the slip. I use shop-bought casting slip. Mainly because my studio is fairly small, and I need the slip to behave consistently every single time. Buying ready-made slip removes one more variable from the process. Using an electric drill with a mixing attachment, mix the slip for one to two minutes until it reaches the consistency of double cream. Before pouring, tap the side of the bucket several times. This helps encourage trapped air bubbles to rise to the surface.
Pour the slip slowly and steadily into the mold (2). Taking your time allows the slip to flow into every corner and helps minimize trapped air. Once filled, leave the mold undisturbed while the plaster absorbs moisture from the slip. This creates the ceramic wall or “shell” of your lamp. With the slip I use, this usually takes around 20 minutes, but every casting slip behaves differently, so expect a little trial and error before finding the perfect timing. You can determine the timing by checking the wall thickness at the pouring hole, known as the gate. As the slip recedes and before you refill the mold with slip, use a knife to cut out a small triangle from the gate wall or use your needle to check the thickness.
When you’re confident the wall is thick enough, slowly pour the remaining casting slip out of the mold and back into the bucket (3). Don’t rush this stage. If you hear a loud “glug” as the slip empties, you’re pouring too quickly. Emptying the mold too fast can weaken the freshly formed shell and, in some cases, cause it to collapse.
Allow the mold to continue drying. I usually leave mine for around five hours. Before demolding, cut around the edges of the gate to remove the overflow section (4).
Cleaning and Prepping the Cast
And there it is . . . your lamp form (5)! Now it’s time to transform it from a raw casting into something ready for firing.
When the clay reaches a firm leather-hard stage, carefully trim away the seam lines and any rough edges using a sharp knife. Next, go over the entire form with a damp sponge until the surface feels smooth and even (6).
It’s easy to become so focused on the ceramic form that you forget it will eventually become a working lamp. Cut all the necessary openings: one in the top for the lamp fitting and one near the base for the cable to exit (7). Make the opening at the top of the lamp slightly larger than the lamp fitting itself. This hole will be concealed by the nut cover, so it doesn’t need to be an exact fit.
Finally, flatten the bottom by moving the piece in a figure-eight motion across a wooden board covered in hessian fabric (8). Tip: Wet the hessian first. It makes the process much smoother and prevents the clay from sticking. It also prevents dust from forming. Once you’re happy with the form, allow it to dry completely before bisque firing and glazing.
Lamp Assembly
A basic lamp only needs a handful of parts—available online or at lighting supply stores. Once you have gathered these components, you’re ready to assemble your finished lamp. See the diagram above to learn how I put my lamps together and how the fittings sit within the ceramic form.
Once my lamps are fully assembled, I add felt to the bottom. This helps prevent the internal wiring from being visible through the feet, reducing the risk of tampering and giving the lamp a more finished appearance. It also protects the surfaces on which the lamps are placed. Another important tip is to consider the weight of the lamp. In ceramics, we are often encouraged to make our work as lightweight as possible, but I believe lamps benefit from having a little extra weight. A heavier base makes the lamp more stable, gives it a stronger presence, and helps it feel like a well-made, substantial object.
Hannah Simpson is a ceramic artist and founder of Hannah Simpson Studio. Her work combines playful forms, bold color, and tactile textures, creating distinctive ceramic sculptures and lighting that explore humor, character, and the connection between art and everyday life.
*Materials sourced from www.dannells.com
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