Stitch & Sip, crafting connections, one sip at a time

Crafting connections, one sip at a time

A Sake set, by Alessia Farinola

In the winter semester project “Porcelain for Use” at UniBZ in 2024, we explored the functionality of porcelain objects.

To understand the social roots of this material and its cultural relevance, while also learning to work with it in a way that respects the medium, we engaged in workshops, excursions, and ultimately designed and produced our own project.

This book documents the process, culminating in “Stitch & Sip”, a sake set crafted from porcelain using the slipcasting technique.

This set aims to blend traditional methods with experimental approaches, highlighting the deep cultural significance and social role of sake in Japanese history.

Stitch & Sip

Crafting connections, one sip at a time

The “Stitch & Sip” sake set is a thoughtful expression of Japanese craftsmanship, tradition, and contemporary design principles. This elegant set, comprising a porcelain bottle and three cups, encapsulates the essence of minimalism and functionality while bridging historical and modern sensibilities. Its design is rooted in cultural symbolism, materiality, and tactile engagement, offering an experience that transcends mere functionality.

choice fosters a physical and emotional connection between the user and the object, grounding the experience in Japan’s cultural heritage.

The “Stitch & Sip” set’s design is deeply tied to the practices and rituals of sake consumption. In Japanese culture, drinking sake is both a social and ceremonial activity, emphasizing connection and respect. The set’s form and texture encourage mindfulness and deliberate engagement, reinforcing the ritualistic and communal aspects of the experience. The absence of handles on the vessels further promotes a tactile interaction, heightening the sensory and symbolic significance of the act.

The cylindrical bottle, divided by a distinctive diagonal cut, serves as the centerpiece of the design. This formal division not only enhances its ergonomic function but also reflects the Japanese aesthetic principle of balance and harmony.

Mirroring this form, the smaller cups By merging traditional craftsmanship with maintain a cohesive visual and tactile modern design techniques, the “Stitch connection to the bottle, emphasizing & Sip” set exemplifies the evolution of simplicity and unity. The use of porcelain, Japanese ceramics. It employs slipa material long associated with Japanese casting, a traditional ceramic method, to refinement and ritual, adds a layer of achieve precise and refined forms that cultural and sensory richness. Its smooth align with contemporary aesthetics. This surface and heat retention properties interplay of old and new underscores enhance the experience of sake drinking, Japan’s ability to innovate while maintaining elevating it from a utilitarian act to an a deep respect for its cultural heritage. immersive ritual.

A defining feature of the set is its textured surface, inspired by traditional Japanese Sashiko and Boro stitching techniques.

These tactile patterns, historically rooted in resourcefulness and sustainability, imbue the set with cultural depth. They serve not only as an aesthetic element but also as a functional enhancement, improving grip and inviting tactile exploration. This design

At its core, the set embodies the Japanese philosophy of blending functionality with symbolism. The diagonal cut in the bottle signifies balance, while the textured surface recalls the resilience and ingenuity of Sashiko and Boro craftsmanship. The interplay of light on the glossy porcelain surface, combined with the tactile patterns, creates a visual and sensory harmony that transcends the object’s practical use.

Ultimately, the “Stitch & Sip” sake set is a multifaceted representation of Japanese identity, culture, and design. It transforms an everyday object into a vessel of tradition, innovation, and ritual. By integrating historical techniques, cultural symbolism, and contemporary sensibilities, the set invites users to engage with it in a mindful and meaningful way, celebrating the intersection of form, function, and heritage.

balance between aesthetic beauty and functionality. Porcelain’s smooth, tactile surface enhances the sensory experience of sake drinking, while its historical associations root the set in a lineage of craftsmanship that values longevity and cultural significance.

Design principles of harmony, simplicity, and balance—hallmarks of Japanese aesthetics—are evident in the forms of the bottle and cups. The cylindrical shape of the bottle, accented by a diagonal The “Stitch & Sip” project represents cut, illustrates the traditional Japanese a profound exploration of the interplay concept of dividing objects into functional between traditional Japanese segments, with a seamless flow between craftsmanship, contemporary design, the base, which holds the liquid, and the and the material and cultural values of top, which interacts with the user. This everyday objects. Rooted in a meta-project structural clarity and elegance echo the framework, it bridges the past and the careful organization of traditional Japanese present, translating historical narratives tableware, emphasizing coherence and and social rituals into a functional and unity across individual elements. symbolic object that resonates with modern sensibilities.

A defining feature of the set is its tactile

texture, inspired by the traditional Japanese At its core, the project centers around techniques of Sashiko and Boro. These the cultural and ceremonial significance methods, born from resourcefulness of sake, a drink deeply embedded in during periods of economic hardship, Japanese history and society. Sake is not emphasize repair, reinforcement, and merely a beverage but a vessel of meaning, intricate patterning, reflecting the symbolizing hospitality, respect, and Japanese philosophy of valuing objects communal bonding. Traditionally consumed with history. By incorporating these textures during social and ceremonial occasions, into the porcelain surface, the set not sake drinking has long emphasized the only enhances its aesthetic appeal but values of harmony and mindfulness. The also connects users to a broader cultural design of sake sets, therefore, is imbued narrative. The tactile experience invites a with symbolic importance, elevating the deeper physical and emotional connection act of drinking into a ritualistic experience. to the object, aligning with the Japanese In this context, the “Stitch & Sip” sake set emphasis on physicality and sensory emerges as an artifact that embodies and engagement in design. reinterprets these traditional practices.

The materiality of the set is a deliberate homage to Japanese ceramic traditions, particularly the use of porcelain. Known for its refinement, durability, and heatretention properties, porcelain has been a cornerstone of Japanese tableware for centuries. The slip-casting technique employed in crafting the set ensures precision and delicacy, maintaining the

The “Stitch & Sip” project is as much about the object as it is about the practices and rituals it represents. Sake drinking, like the traditional tea ceremony, is a meditative act that balances aesthetics and functionality, fostering mindfulness and respect in social interactions. The absence of handles on the vessels encourages users to engage directly with the material, reinforcing the tactile and intimate nature of the ritual.

This design approach underscores the project’s intention to create a multisensory experience, where every interaction with the object deepens the user’s appreciation for its cultural and historical context.

Beyond its functional and aesthetic aspects, the project engages in a broader philosophical inquiry into the role of cultural heritage in contemporary design.

By blending traditional techniques like porcelain craftsmanship and Sashikoinspired textures with modern design sensibilities, “Stitch & Sip” navigates the tensions between preservation and innovation. It raises questions about how cultural traditions can be honored while adapting to contemporary values and needs, offering a dynamic model for integrating heritage into modern design.

Ultimately, “Stitch & Sip” is a celebration of Japanese cultural identity, presenting a nuanced exploration of how materiality, symbolism, and ritual intersect in everyday objects. The project does not simply replicate tradition but transforms it, creating an object that resonates with the past while speaking to the present and future. It invites users into a reflective dialogue about the evolving nature of cultural artifacts, demonstrating how design can serve as a bridge between the tangible and the symbolic, the historical and the modern. Through this thoughtful synthesis of tradition and innovation, “Stitch & Sip” exemplifies the enduring power of design to shape, preserve, and reinterpret cultural identity.

First Sketches Researching the shape

Sketching is a foundamental tool for exploring and refining ideas when designing. It allows shapes and possibilities to emerge naturally, testing proportions and balancing aesthetics with functionality.

Through each sketch, the process moves closer to discovering the most optimal design.

Final product Technical drawings

Side view

Front view

Top view

Orthogonal projection - Cups Scale 1:2 (wet size) Unit: mm

58.00 31.30

Orthogonal projection - Bottle Scale 1:2 (wet size) Unit: mm

Front view

Side view

104.4 51.00

Top view

Stackability

Front view

Section

Front view

Section

The first approach to porcelain First excursion to Munich

During my first experience working with porcelain in Munich, I focused on rolling the material into thin sheets just a few millimeters thick to construct a handbuilt carafe. This process required careful attention to achieve uniformity in thickness, as even small variations could lead to weaknesses in the structure.

Through this work, I gained a deeper understanding of porcelain’s properties.

The material is highly responsive, reacting immediately to pressure, humidity, and temperature. Its low tolerance for errors became evident—excessive force could cause cracking, while insufficient handling could result in instability during assembly.

This practical introduction provided valuable insights into the behavior of porcelain, helping me to understand its challenges and potential. It was a crucial step in developing the skills necessary for precision and control when working with this demanding material.

Process of realisation Final Product, Methods and Techniques

Slip casting is a ceramic forming technique in which a liquid clay mixture, known as slip, is poured into a plaster mold to create a solid piece.

Slip casting is particularly well-suited for producing consistent shapes, making it ideal for a project where the overall design needed to be replicated with precision.

This technique not only allowed me to explore geometric forms but also ensured a smooth, even surface finish, which was essential for the tactile experience I aimed to achieve. Additionally, slip casting enabled me to experiment while maintaining a high level of control over the process.

Materials Required Clay Slip: The primary material for slip casting is slip, which is essentially a mixture of clay, water, and sometimes other additives. The slip used for casting must have the right consistency to flow easily into molds without being too runny. Porcelain slip, known for its fine texture and smooth finish, was chosen for its aesthetic quality and ability to pick up fine details from the mold.

Plaster Molds: Plaster molds are essential for slip casting because they absorb water from the slip, allowing the clay to solidify into the shape of the mold. Plaster is ideal because it provides both quick drying times and the necessary porous quality to help with the mold release.

Water: Used to adjust the consistency of the slip and to help with the mold release.

Tools: Various tools are required for refining the casted piece after it has been removed from the mold, such as trimming tools, sponges, and carving knives for cleaning and finishing.

Step-by-Step Process can be handled gently to avoid damaging Preparing the Mold the delicate forms. Any rough edges or The first step is to prepare the plaster imperfections are trimmed away using mold. The mold must be clean and dry, as carving tools, and the piece is left to dry to any moisture could disrupt the slip casting a leather-hard state. process. Plaster molds are typically made Finishing and Firing in two or more parts, which fit together to After the piece has dried completely, create a hollow cavity. Each mold must be it undergoes a final finishing process. designed to capture the exact shape and This may involve additional smoothing, detail of the intended piece. polishing, or adding texture. Once the piece Mixing the Slip is fully prepared, it is bisque-fired in a kiln The clay is mixed with water to form a liquid at a lower temperature to harden the clay. slurry called slip. The consistency of the slip The piece is then glazed and fired again at is crucial; it should be fluid enough to pour a higher temperature to achieve the final into the mold easily but not too thin that it finish. cannot hold its shape. The slip is typically sieved to remove any lumps and ensure a smooth texture. In this case, porcelain slip was used for its fine grain and smooth finish, which helps to capture delicate patterns and textures in the mold.

Pouring the Slip Into the Mold Once the slip is ready, it is carefully poured into the plaster mold. The slip should be poured slowly to avoid air bubbles, which can distort the final piece. After filling the mold, the slip is allowed to sit for a certain period, depending on the thickness of the mold and the desired thickness of the final piece.

Draining the Excess Slip After allowing the slip to set for a short time, excess slip is poured out of the mold.

The remaining slip inside the mold begins to solidify, creating a layer of clay that conforms to the shape of the mold. The longer the slip stays in the mold, the thicker the walls of the piece will be.

Drying and Hardening Once the excess slip has been drained, the mold is set aside to allow the casted piece to dry. The drying process is crucial, as it ensures the piece holds its shape and hardens sufficiently to be removed from the mold. After several hours, the clay will have dried enough for the mold to be removed.

Removing the Piece from the Mold Once the piece has dried sufficiently, it is carefully removed from the plaster mold.

At this point, the piece will be soft and

Creating a tactile experience By referencing these arts, the extruded The choice to integrate an extruded pattern becomes more than a functional pattern on the main body of the sake addition. It carries the symbolic weight set elements serves both functional of resilience, craftsmanship, and the and cultural purposes. Functionally, the interconnectedness of utility and texture enhances the user’s grip, a nod to traditional Japanese sake sets. Historically, aesthetics. This dual-layered approach— these sets lacked handles, relying on tactile where tradition informs modern design— adds depth to the sake set. It transforms surfaces to improve usability—a practical the object into a bridge between practicality solution that marries form and function and cultural storytelling, offering users seamlessly. not just a functional tool but a meaningful tactile and cultural experience.

Culturally, the pattern draws inspiration from sashiko and boro, two traditional Japanese textile arts rich with meaning and history. Sashiko, meaning “little stabs,” is a form of decorative stitching that originally served a practical purpose: reinforcing fabric, increasing its durability, and extending its life. Over time, it evolved into a celebrated art form, combining utility with geometric beauty. Boro, on the other hand, is a philosophy rooted in the practice of mending and reusing textiles to create patchwork fabrics. It embodies values of sustainability, resourcefulness, and a deep respect for materials, reflecting Japan’s cultural ethos of finding beauty in imperfection and transience.

First Sketches Researching the tactile experience experimentation with textures, depths, and arrangements.

Creating a tactile experience was fundamental to this project, not only for its functional properties but also for conveying a narrative of Japanese culture through the object.

To understand where the pattern was necessary for functionality, trials were conducted to determine where the hand grabs the object.

Final Pattern

Tested techniques Engraving the Mold and Rolling Porcelain Over It This first technique involves engraving a pattern directly into a plaster mold, which is typically pre-curved to match the desired shape of the object. This engraving can be done manually or with tools designed for precision, allowing for intricate patterns, textures, or designs to be carved into the mold’s surface.

Once the pattern is engraved, pieces of porcelain are rolled over the mold. The porcelain, being a pliable and flexible material, takes on the details of the engraved design as it is pressed onto the mold’s surface. The rolling process ensures an even distribution of porcelain over the engraved areas, allowing the intricate details of the pattern to be captured in the clay. The result is a textured, extruded porcelain surface that reflects the depth and detail of the original engraving.

This technique is particularly effective for creating a consistent texture across multiple pieces, as the same mold can be used repeatedly. It also allows for an in-depth understanding of how porcelain interacts with the mold’s engraving, enabling designers to adjust the depth of the cuts to achieve the desired texture and extrusion effect.

Engraving a Pattern on a Linoleum Sheet The second technique involves engraving a pattern onto a linoleum sheet, which is often used in printmaking and can be a flexible tool for creating textures or repeating patterns. In this case, the linoleum sheet is used as a template or a surface onto which the pattern is carved.

Once the pattern is engraved on the linoleum sheet, pieces of clay—such as porcelain—are rolled over the surface to assess how the material interacts with the engraved design. The process involves carefully pressing the clay onto the linoleum to understand the depth of the cuts and how the material will respond to the pattern. This allows for experimentation with texture, as the designer can see how the clay picks up and extrudes the pattern, adjusting the pressure and the depth of the cuts to achieve the desired outcome.

This technique is particularly useful for exploring smaller-scale patterns and is often employed for more delicate or detailed textures. It allows for a hands-on approach to adjusting and perfecting the tactile experience before moving on to larger-scale production.

Used technique Creating Patterns and Extrusions on Porcelain Using Shellac and Sponge Removal Material Preparation Before starting, it’s crucial to have all materials prepared and ready. The primary materials involved in this technique include: Porcelain Clay: Porcelain is chosen for its smooth texture and fine-grained nature, which allows for detailed patterns and sharp extrusions. The porcelain should be well-conditioned and at a soft leatherhard state to ensure that it can retain the pattern's details while still being pliable.

Shellac: Shellac is a natural resin that, when applied to the porcelain’s surface, forms a hard protective coating. This layer serves as a resist, preventing certain areas from absorbing moisture during the process of excess clay removal. Shellac helps to define the areas where the pattern or texture will be raised or extruded.

Sponge: A natural sponge is used to gently remove excess porcelain, revealing the detailed pattern left behind. The sponge’s softness allows for controlled cleaning without damaging the fine details of the design.

Tools for Engraving/Carving: A variety of carving tools will be needed to create the desired patterns. These tools can range from fine, precise carving knives to more substantial chisels, depending on the intricacy of the design.

Water: Used in moderation to keep the surface moist during the removal process, aiding in smooth, even clay removal.

Step-by-Step Process Engraving the Pattern The first step is to design and engrave the pattern onto the surface of the porcelain.

This can be done freehand or using a template. The pattern can range from simple geometric shapes to more intricate designs inspired by cultural or natural motifs. The engraving should be done at a leather-hard stage of porcelain to ensure that the surface is firm enough to hold the design but still soft enough to allow for detailed carving. Careful attention should be paid to the depth of the carving, as this will affect the final extrusion.

Applying Shellac Once the pattern is engraved, shellac is applied to the areas of the porcelain that will remain raised or need protection from the removal process. Shellac can be applied using a brush, ensuring even coverage over the desired areas. It should be allowed to dry thoroughly before moving on to the next step. Drying time can vary depending on the thickness of the application, but it generally takes about 15-30 minutes for shellac to become touchdry. Ensure that the shellac has fully set before proceeding.

Rolling or Pressing Porcelain Over the Mold If the design is part of a larger piece or mold, the porcelain is now rolled or pressed onto the surface. The clay should be rolled evenly over the shellac-coated areas and the surrounding surface. The goal is to achieve an even layer of porcelain that can then be manipulated into the desired shape.

Excess Porcelain Removal Using the Sponge After the porcelain has been applied and allowed to settle for a short period, the next step is to carefully remove the excess clay using a natural sponge. Dampen the sponge lightly with water and gently rub over the surface, focusing on the areas where the shellac was applied. The shellac protects these areas, preventing the sponge from eroding the raised portions of

the design. The excess porcelain around the engraved areas will begin to lift off, revealing the patterns or extrusions left by the carving.

It’s important to work slowly and gently at this stage to avoid disrupting the fine details of the design. The sponge should be kept damp but not soaking wet to ensure that the porcelain is removed gradually without disturbing the surface.

Drying and Setting After removing the excess porcelain, the piece should be left to dry for several hours.

It’s important to allow it to dry evenly to prevent warping or cracking. The drying time can vary depending on the thickness of the porcelain and environmental factors, but typically it will take 1-2 days for the piece to dry fully. During this time, the porcelain should be kept in a cool, dry place, away from direct sunlight.

Timing and Process Considerations

Advantages of This Technique

Shellac Drying Time: The shellac must be Precision: The shellac resist method fully dry before proceeding to the next step. ensures that intricate designs are Rushing this process could lead to areas preserved while allowing for the smooth where the shellac hasn’t fully set, causing removal of excess porcelain. This leads uneven removal or incomplete pattern to a clean and sharp pattern with clear definitions. extrusions.

Porcelain Drying: After using the sponge Control Over Design Depth: This technique to remove excess porcelain, allow the offers excellent control over the depth of piece to dry gradually. Sudden changes the pattern, making it ideal for creating in temperature or humidity can lead to finely detailed textures or raised designs. cracks, so it’s important to dry the piece in a Material Interaction: The combination controlled environment. of shellac and porcelain offers a unique Sponge Work: The use of the sponge is a interaction, where the shellac protects delicate task that requires patience. It’s certain areas while allowing the excess important to constantly check the effect of material to be removed precisely. the sponge to ensure the pattern is coming through as expected. Excessive pressure or moisture can distort the design.

This method of using shellac and a sponge to create patterns and extrusions on porcelain allows for high precision and intricate detailing, making it a valuable technique for ceramic artists. The careful preparation of materials, combined with patient execution, results in a beautifully textured porcelain surface that reflects the artist’s vision while maintaining the integrity of the design.

Sources Sakenomibu. “Exploring the Art and Tradition of Japanese Sake Ware: A Comprehensive Guide.” Sakenomibu, 2023.

Sake Sphere. “Sake in Japanese Ceremonies.” Sake Sphere, 2022.

Sake School of America. “The Cultural Significance of Sake: Celebrating Tradition and Heritage.” Sake School of America, 2021.

Digital Commons @ University of NebraskaLincoln. Textiles, Society and Culture Conference Proceedings. University of Nebraska-Lincoln, 2014.

Credits

Created During: Winter Semester 2024/25 for the project Porcelain for Use Institution: Free University of Bolzano Professors: Klaus Hackl, Ada Keller, Giacomo Festi Realization and Design: Alessia Farinola Materials: Paper Inside: München, 120g Cover Paper: Transparent, 130g Fonts: Body Text: Suisse Int’l, 9.5 pt Titles: Okaluera, 53 pt