Because there are variables beyond my control (clays, papers, water, mixing errors and etc) always pre test fire what you have before a big project. No guarantee can be offered that 'alternative" commercial paperclays now on the market will meet the all the performance advantages of my high performance trademark P'Clay® brand only available from licensed manufacturers/distributors.
above details of translucent high fired (1380C) high pulp Herends/Limoges paperclay porcelain by Rosette Gault.
a thick "icing" consistency paste of p'slip over bone ddired papeclay surface allows thick textures resembling fluid.
burnished terra siggilata and raku surface by Rosette
gloss transparent clear glaze over underglaze color fired paperclay tile.
Above examples by Rosette.
surface texture, color, and finish
gloss, matte, ceramic glazed, translucent, mettalice lustres, colors
Fired surfaces include but are not limited to: terra siggilata and burnish, pit fire smoke, saggar fire, raku, gold and metallic lustres, to mid range or high fire stoneware or porcelain reduction glaze, woodfire, soda, salt, and beyond. Where no kiln is avaialbe to finish, almost every possible non-fired air-set surface finish, paint or interior exterior rated coating: acrylic, oil, etc, will normally adhere to a bone dried paperclay surface.
Paperclay like traditional clay also can be worked to mimic any and all other materials (clay, stone, metal, rock, paper) as well as the ceramic it is.
L: Brian Gartside mixed media and ceramic glaze; R: gold lustre fired and smoked raku pit paperthin folded boxes by Diane Baxter
Thuy Ngo (left) book ceramic "crawling" glaze on paperclay, and Ed Bamiling (Canada) Raku work
The author wishes to point out the artwork of the book by Thuy Ngo shown above appears on the back cover of PaperClay (ACBlack/UPenn) and was mistakenly attributed to another artist. Despite our best efforts to proof we sincerly apologize for this error and will make note in a future edition and here online in the meantime.