Still Made The Same Way It Always Has Been Made

If Josiah Spode I were to return to his factory today, he would find many of the processes and techniques perfectly familiar. Because, in essence, Spode products are still made the way they always have been made.

Scientific tests prove that Spode is the whitest, strongest and most translucent Fine Bone China, due to faithful adherence to the original 18th century formula. But this does limit the amount of mechanization that can be employed in the manufacturing process; so a higher degree of artistry, hand work and craftsman skills are required throughout all stages of production.

Traditionally, Spode have always employed a strong team of talented designers, with each a piece of tableware individually designed to ensure that the pattern is perfectly balanced with its shape and size.
Manufacture begins with the raw ingredients - calcined bone, china clay and (china or Cornish) stone - being mixed with water in a 'blunger', before being purified and having a large proportion of the water removed in a filter press. After maturing for a few days, the clay passes through a pug mill to extract every bubble of air.

'Making' is divided into four main processes: flat making of plates, saucers etc; cup making; pressing by hand of casting, again by hand, of hollowware such as soup tureens, tea and coffee pots. At Spode, scallops on cup rims are cut by hand and handles are cut to shape and attached by hand.

After the initial biscuit firing, all tableware is glazed by hand, before the glost firing. Then the various types of decoration are applied before the final firing, with special patterns and gilding applied by skilled artists.
It's not the easiest or cheapest way to make Fine Bone China, but it is the only way to make Spode!

1. Every shape from which
working moulds are made has
first to be created by the
modeller, taking into account
the contraction that occurs
during firing.
2. Whilst plates and dishes
are made in a flat mould,
all Fine Bone China holloware
is produced from a working
mould of Plaster of Paris,
and allowed to stand.
3. After approximately 15 mins,
depending on the piece, the excess
slip is poured off for re-use.
4. The deposited clay, aided by
the absorption of the Plaster
of Paris, contracts and separates
from the walls of the mould
and is ready for handling
in about 2 hours.
5. The 'greenware' (as it is called
at this stage) is sufficiently firm
to be worked into the complete
piece. Before fixing the spout
onto a coffee pot or teapot, holes
are pierced into the body.
6. The spout, cast in the same
way as the body, is carefully
trimmed to shape.
7. The spout is positioned
in place over the piercing.
8. The spout and handle joints
are dipped in slip and fixed
to the body. The greenware is then
 allowed to stand overnight to
 harden to 'whiteware'.
9. Every piece of whiteware is
carefully fettled and sponged
to smooth the surface, before
the first firing.
10. Whiteware is then placed and
fired in the kiln for 15 hours
at over 1200C, left to cool for
4 hours to emerge as 'biscuit'
ware, ready for glazing.
11. During the process, the
original whiteware shape
contracts by 20% to its final size.
12. Waterslide transfers,
guidelines for the painters and
intricate gold borders, are
expertly applied to the 'glost'
or glazed ware.
13. The more elaborate, colourful
and decorative designs are hand
painted directly onto the glost
ware with great skill and patience.
14. Many Fine Bone China
patterns are completed with a
gold edging and other
embellishments by hand with
22 carat gold.
15. Eventually, when all hands
have completed their work, the
fully finished item is returned
for the last time to the kiln to
fix the colour.
16. Through every stage of the
process the piece is checked
and is now ready for the final
inspection.

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