Every pan in the Silvan Cherry kitchen begins as a flat disc of copper. There is no deep-drawn shell from a press. The form is raised over fire and under the hammer until walls, rim, and balance exist.
Heat softens the metal for a moment; the hammer sets the curve. The work is slow on purpose. Small batches leave room for the hand to correct, to listen, to stop when the vessel is right.
When the shape holds, the interior is lined with tin and the piece receives the maker's stamp. What leaves the workshop is not a disposable good. It is a tool meant to be re-tinned, repaired, and passed on.
A longer essay on tools and workshop days will follow. Until then, read The Craft for the full Raise, Tin, and Stamp story.