Numerous stages are necessary to obtain fine, white porcelain. The paste, at first friable and fragile, gradually takes on the resonant, translucent and vitrified aspect we are familiar with.To create an object, it is first necessary to make an original mold, sculpted in plaster. Each mold is used by Raynaud to make some forty pieces only, to ensure the final creation is perfectly faithful to the original model. Before they are put in the oven, the objects are extremely fragile and must be handled by expert hands, namely during the garnishing or trimming stage which removes the molds seam. These operations are particularly delicate as porcelain has a memory, and any heavy pressure of the hand remains forever embedded in the core of the material. During the second firing, after glazing, the material changes and looses all its porosity to become resonant and translucent. The pieces are then sorted, selected. Small differences in thickness, diameter and aspect of the various pieces are inevitable.
Characteristic of the traditional Fire Arts, these slight irregularities only highlight each pieces unique aspect. The piece selected can then be sent to the decoration workshop for finishing and polishing, before being decorated on the tracing tables or the painters benches. One or several firings then allow to fix the pattern “permanently”.