Whilst working within the English slipware tradition, Miranda began looking at other slipware traditions across the world. The Chinese Northern "Sung" wares were held in her highest esteem. She noticed the Sung potters were drawing and carving through the layers of slip at a later stage. These pots became her inspiration. This gave her carving a crisper cut, and showed the freehand drawing in a more defined way.

For our slip carved pieces, after the piece is hand thrown, Miranda's designs are drawn freehand with an African porcupine quill, then carved through the clay slip layer. This technique reveals the soft, beige brown of the clay body beneath, giving a feeling of a two-toned damask cloth. Each piece is completely unique and takes incredible skills in throwing, drawing, and carving to execute. These have become Miranda's signature pieces.

The iron rich black carved pieces are fired in a reducing kiln, and coated in a Chun glaze. The smoke in the kiln transforms the rust layer to a range of rich blacks and browns. Sometimes, the iron is lustrous highlighting the edge of the carving. On the carved-away areas the Chun glaze is a deep olive celadon, and where it pools, an opalescent blue. No two pots come out of the kiln alike. Unlike the black carved pieces, the white carved pieces are fired in an oxidizing kiln.