Eco-friendly paper clay serves imagination like no other.
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With paperclay you can choose whether or not to fire your result. Many sculptures don't really need it. If you did want to fire so a bowl or cup would hold water and such, transporting dry and glaze finish paperclay to a kiln for single faster firing has never been easier.
the work space
It could be as simple as a card or kitchen table with a rolling cart full of tools to tuck out of the way between sessions and a clip on light for detail. Find a shelf to put the works in progress to dry and assemble a cleanup kit.
The light, boundaries and beauty.
Because imagination needs a good place to ebb and flow, the light outside the window fits in rhythm with coming and going in life.
For instance: my grandmother (Harriet ECF) had a NYC apartment high-rise window to an abyss full of rats and ugly. To remedy this, she painted herself a new window cover with better view from a postcard view she loved.
During the most vulnerable formation initial stages of the process, when the critical part of my mind sometimes barks like a dog in my head, so, I command the the critic settle down and wait outside the studio door until I really need it to help for final trimming and polish. It is very good at clean up after the new piece exists but not during genesis. It doesn't understand process.
If others are working nearby, sometimes the conversation is so good, mind dog actually stops barking to listen. Hands don't mind. They carry on regardless.
music
When, or if, I put on music- most everything verbal interferes with the flow. Art space has a language its own. Experiment.
freedoms
Can you handbuild and/or make pots on wheel with paperclay? Yes. Tiles? yes, Sculpture? Yes. Get more new textures? Yes. Cast or press mold? That's just the start. Save time drying, and make repairs that would be impossible in traditional clay .Read Love Letters and Artist Comments
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Optimize studio time
A private zoom consult with me on practical matters could save time, costs and hassle.
A class could expand your repertoire, help overcome obstacles, and build community.
If you are setting up or are responsible for a shared studio helpful tips below.
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Convert your familiar clay in studio or commercial ready blend P'Clay vs non trademarked blend.
Convert your favorite clay to a paperclay and most of your glazes should fit fine.
Or find to the licensed trademarked P'Clay manufactured by Aardvark, Imco in California and Clay Art in Tacoma who distribute to regional clay suppliers. Get porcelain, high mid range and stoneware and even low fire and terra cotta. Raku with any of it. Test first just in case the batch isn't as intended.
Trouble shooting and Remedy
Other commercial paperclay is not equal or pre-tested by me. There have been reports to me of uneven results by independents. Some of these products have flecks of paper visible, or lumps, a no-no deal breaker for me. Paperclay that cracks up when doing wet to dry owing to an unbalanced recipe is not going to deliver on the claim as you hoped to save a few cents.
All is not lost if you have this problem. Simple Learn how to add more pulp to what you bought and make the best of it! It will work just fine with enough pulp!
Links for classroom and homeschool imagination in book Think by Hand and you want ideas to teach link with STEM or STEAM working with kids to start design a water filter >>>
SITE MAP Resource Center for makers, art studio-schools,
Please scroll through hints and links FAQ the source info for beginner, intermediate, advanced most common questions for self directed and emerging artists and designers.
ADVANCED: Art work- fearless loading of raw porcelain paperclay sculptures for single glaze high fire in the kiln. Impossible with traditional clay. There are sculptures inside the sculpture. Photo credit Don Lee Banff Centre, Canada.
Hybrid combine with with makerspace digital scan data
Option includes a back and forth process. After hand or wheel scan a dry clean prototype for further digital refinement then output even press molds, for soft clay hybrid forms. And re-assemble wet dry or dry-to-dry for firing in kiln.
FAQ on firing and storage
If you are the person in charge of a traditional clay studio, and wish to have both types of clay available, both could be fired in the same kiln. Load the single fire glazed in one area with the bisque glazed. Consider dry storage of scraps see below and how much power and time can be saved. There are eco friendly tips also.
No need to baby things dry and other conveniences that could make life easier and less frustrating. I even started my beginners with paperclay until they got the knack of proper joins (first attempt to attach a handle and it breaks? test before fire- go fix it- save a ton of fuel that way too!)- then advance to intermediate to try traditional clay which they will have to baby- slow dry and fire- but should know about...., and then pick what they like after.
🔥 Firing in electric kilns🔌🔌🔌
1 Burnout of " paper" pulp embedded in a paperclay didn't shorten the life of the kiln heating elements🔌. Why? 450F is almost the same temp as wax resist burnoff. The smoke time for both is in first hours before the kiln air gets superheated. So far been safe by more than 30 years test in vented electric kilns.
2 Vent is recommended for waxes, sulfur and other gases escaping from the traditional clays. Smoke from paper should be long gone hours before red heat. When the kiln air turns to a very hot oxidizing gas at low bisque your kiln elements are designed for this.
3 Reduction kiln atmosphere of black smoke carrying tar, CO and soot from tossing too much combustible in a red hot kiln) forms from too much fuel not enough oxygen. During red heat, such a situation would corrodes electric heating elements shortening their life.
Electric kilns 🔌 are not designed for reduction fires but they are designed for red heat oxidation and a kiln vent. Some schools teach it's ok to fire crumpled newsprint inside a handbuilt work- well this is alot of paper compared to pulp in paperclay so often it may not burn out early before the kiln hot gas starts to form. I won't fire such things and don't teach them.
Single glaze fire skips the bisque 🔥 since water based glaze is absorbed in green dry paperclay. Just let the pot dry between quick dip, spray or brush. If you wait too long the water will penetrate and soften the paperclay. It will start to deform. Test test first until you know what you have.
CAUTION on fire retardant spray on dry fluff pulp
Avoid adding so called recycled dry pulp insulation (such as a building material) treated with any fire retardant which is law in some countries- in a your home batch paperclay- fire retardant boron etc in fire generates TOXIC foul fumes and extends the burnout smoking time about 6 hours all the hours to the red heat. It seemed like a good idea until.... toxic smoke continued to well beyond bisque heat--nope a hidden ingredient was the cause.
Safety and Storage Dry Preferred over Wet
Use fresh batch. Aging not needed because the pulp brings moisture deep inside clay during mix.
Store scraps of paperclay dry not wet! Wet time varies depending on the base clay used and the temperature- weeks to 3-6 month or years.
(Or, of it must be wet- double or triple bag it to avoid finding a heavy dried brick you can't cut through. The good news is you can chisel it as if it is stone into a sculpture if theres enough pulp in there you can glaze and fire it too.)
Avoid making a stink storing wet
Unlike most porcelains, clays with lots of impurities (- tan, brown, red --- iron, organic matter) and warm weather may start to grow microbes in weeks- molds can grow too- on the outside which can be scraped off the edges. It depends- so test first if you have an allergy- only use fresh batch very fresh like in a few days of mix- no time for mold to grow. Pictures are in my book.
Storing wet clay in muck bucket even not paperclay can cause microbes fungi, algae of various sorts and some smell over time. Temperature can matter and the kind of local water can also make a difference in the brew. Mold- mildew can grow on any wet clay over time- paperclay or not- so anyone with this concern or skin sensitivity must mix and use paperclay fresh and let it dry within a few days so theres no time for and of these microbes to grow. Also avoid bleach as disinfectant in anything. I know my teachers used to use a few drops.... but I have learned it's not wise for skin.
In contrast, paperclay porcelains hardly grow any microbes in 3 months or longer- even years...some of them stored wet double bagged but. The iron bearing baseclays its not as good. No problem just something to know.
To store dry - I slice remainder of a pugged or wedged leftover hunks/soft chunks up - to bread like tiles-to let dry. They reconstitute quickly in bucket of water, pour off extra and you have it!.
Storing box or bags of dried scraps are light weight and easy to move compared to wet barrels of water-slurry as in traditional clay studios. I just make a note of what type of clay/cone rating it is learn more.
Dry paperclay scrap whispers: To hear, dip in water and LISTEN for a lovely little sound of water soaking in- that lasts a few seconds. This is how I can tell which scrap is a paperclay and which is not a paperclay.
Click link logo above to go visit the site map of first website serving artists and makers exploring paperclay. Tips and help for makers, teachers and more.
Paperclay is common potters clay (without additives) combined with any plant fiber (source of natural structure of cellulose). When the recipe is balanced correctly exceptional performance during making and after exceeds that traditional clay and or paper alone...makers have chance to patch cracks, assemble parts wet on dry, lighter fired weight and much more.
Click logo to visit early researchers -on water filtration, medicine, and more. Potential to meet critical environmental need outside the field of art.
