Useful paper clay questions and solutions
Subject: refiring paperclay
Name: Evelyn Paarkin
Date Posted: Feb 2, 04 - 7:07 PM
I have been making paperclay slabs and creating a decoration with paperclay slurry and painting with sulphates for colour.
I then fire them to approx 950 degrees in my gas kiln in a saggar type situation with organic materials.
Colour response can be random and in some cases I have not been happy with the fired results and would like a second chance.
My paper clay body is one I make myself from Keans 7 stoneware 2 thirds clay to 1 third paper.
My question is: now that the piece has been fired is it possible to add more paperclay slurry and refire successfully.
Will this slurry adhere to the fired piece?
Thanking you, Evelyn
Subject: Re: refiring paperclay
Name: Graham
Date Posted: Feb 18, 04 - 3:33 PM
Dear Evelyn
In the dim dark past ( 1995) I had added paperclay slurry to fired paperclay and refired it successfully!
The v.v. small holes created when the paper (cellulose fibres) burn out create a "tooth" for the slurry to join on.
Just be mindful that the fired clay is unlikely to shrink further, while the slurry paperclay will want to shrink while it dries. So it's best not to make very long joints between the two clays.
It's an area that I really wanted to research but have never got back to.
So if you do some work in this area, please write it up (either here or any of the ceramic journals-I'm sure they will be interested), so that others can learn from your experiences.
All the best
Graham
Subject: Re: Re: refiring paperclay
Name: Evelyn Paarkin
Date Posted: Feb 19, 04 - 7:56 PM
Thankyou for your response to my question re refiring paper clay.
I have in the meantime done one test, applying a layer of slurry to an already fired piece and it does seem to work.
I wanted to cover some unsatisfactory colours on a flat piece of work so used a fine slurry and painted over the specific areas then applyed more colour.
I was more than happy with the result although on the edges of the piece where I feel the slurry was thicker it cracked and chipped off.
So of course, as any good potter will agree, this just means more tests but I enjoy the challenge.
Shall do as you suggest and detail my findings as I go.
Many many thanks.
Evelyn
Subject: paper clay special mix
Name: Jean-Jacques
Date Posted: Dec 20, 03 - 2:14 AM
Message: Hi ! All
I am Happy to found your site !
I am totally newby in this domain and maybe can you help me .
I would like to make a paper clay mix who can be cooked in electric kiln or who dry at air.
What sort of argile and other adjuvant (natural if possible) could i use ?
and after what could I put on it to be really waterproof ?
Thanks in advance
Best regards
Jean-Jacques
Subject: Re: paper clay special mix
Name: Graham
Date Posted: Jan 8, 04 - 5:17 PM
Dear Jean-Jacques
Based upon my experience with home-made and purchased paperclay, most are stronger than normal clay if air dried.
The fibres hold it together.
While I recommend a water sealant, such as PVA glue or Bondcrete for work that is unfired and will remain inside (ie away from water), I don't recommend unfired work be placed outside, regardless of the waterproofer used.
A single pinprick or bubble will enable water to get in and the paperclay does love to suck up water, just like paper towels.
Also if making your own paperclay, the addition of glue in powder form to the dry clay will further increase the strength of the final unfired work.
cheers
Graham
Subject: Painting paperclay
Name: Peter
Date Posted: Dec 19, 03 - 8:15 PM
My notes from a workshop with Graham earlier this year refer to painting paperclay with undiluted acrylic paints.
I have done this successfully.
I wondered if anyone had used gloss enamel (oil based) paints?
I have tested a small area on once-fired paperclay with no apparent problems.
I would like to use up a number of bright enamel paints currently on the workshop shelf.
Subject: Re: Painting paperclay Date Posted: Jan 7, 04 - 9:57 PM
Peter
Just think of the fired paperclay as brick(because that's what fired clay/paperclay is)-then check with your local paint shop if unsure.
Usually a primer helps, or diluted (turps?)paint will do, before final coats.
Just as you would with wood.
Cheers
Graham
Subject: Re: Re: Painting paperclay
Name: Peter
Date Posted: Mar 3, 04 - 9:19 PM
Sculptures are frogs on logs.
I have quite successfully painted one creation in several different coloured oil based enamel paints.
Quite pleased with the result.
Also colouring and glazing others in the normal way.
Thank you Graham
Subject: HELP
Name: new
Date Posted: Mar 3, 04 - 8:38 PM
What are your compressed paper sculptures about?
Subject: Re: HELP
Name: Graham
Date Posted: Mar 10, 04 - 4:35 AM
http://www.grahamhay.com.au/details.html
and especially
http://www.grahamhay.com.au/hay2004tafta.html give fuller answer to your question.
cheers
Graham
Subject: paperclay Name: Dilek Alkan-Özdemir Date Posted: Dec 2, 03 - 1:54 AM Email: [email protected]
Dear Mr. Graham,
I’m Dilek from Turkey.
I’m still research about paperclay.
I wonder something about your work.
Your some works are so fragile and complex, it is difficult built them.
Before paperclay, can you build complex and fragile form? Otherwise, is paperclay suitable material for like these forms?
Thank you.
Dilek Alkan-Özdemir
Subject: Re: paperclay Name: Graham Date Posted: Jan 7, 04 - 10:02 PM Message: Dear Dilek
One of the major reasons I use paperclay is that it enables me to build delicate forms. I roll them out then shape, allow to completely dry (so they don't sag while I build), then use the dip and stick technique (see articules on website).
I have looked back over my pre 1992 work and yes, osccassionally I built delicate & complex works, but not often because it was difficult.
Subject: Warping Name: Elly B Date Posted: Oct 8, 03 - 4:24 AM Email: [email protected]
Graham
Having seen your talk at Aberystwyth I am now finally in a position to begin experimenting with paperclay!
I have read that paperclay does not warp in the same way that unaltered clay does.
Does this apply to drying only or also to firing?
I look forward to hearing from you!
Regards,
Elly.
Subject: Re: Warping Name: Kim Jeoung-Ah Date Posted: Oct 22, 03 - 6:35 AM Email: [email protected]
Applicable in both drying and firing however it definitely depends on your mother clay body (clay type), working method and the percentage of paper fibre in your clay.
It also influences by firing temperature and firing method.
Subject: firing paper clay electric kiln Name: alana Date Posted: Aug 9, 03 - 8:31 AM Email: [email protected]
Graham, thankyou for this forum structure.
I have done my first firing of paper clay in my beat up electric kiln.
It was a test fire so nothing important in the kiln, one piece on each of the three shelves.
Fired two hours open on low, 3 hrs open on medium for burn, closed on high.
after two hours on high this brown plastic like substance started bubbling and oozing and smoking from the seam at bottom of kiln between legs and body of kiln.
I shut it down. Thought everything was mush inside! but on opening next day discovered a clean kiln with pieces all in one piece bisqued.
Orton cone 05 was down.
One friend suggested perhaps some chemical reaction occured with kiln cement?? (nothing was ever done to the kiln body since purchase) and preservatives in clay body???
using Tuckers low fire P'Clay white body, Canadian supplier.
The goop is brown, hardened immediately with contact with concrete floor but did not stick and pings (when you strike it) like a hard plastic???
ever heard of this before???
alana
Subject: Re: firing paper clay electric kiln Name: Peter Date Posted: Oct 23, 03 - 11:11 AM Email: [email protected]
Alana
I have often smoke fired work in a drum stuffed full of shredded paper and let it burn for 24 hours.
It leaves a black hard deposit that I assume is carbon on the inside of the 'kiln'.
I have seen a brown gunge (that matches your description) leaking from the lid that hardens when cool.
It's not the clay as it happens with every type I've tried and I can only imagine it is tar from the smoldering paper.
Subject: paperclay Name: jackie Bienvenu Date Posted: Jul 25, 03 - 9:40 AM Email: [email protected]
Dear Graham
I'm writing from France, so excuse me for my bad English.
Only a few months, I'm working with paperclay homemade with industrial porcelain clay for casting coming from Limoges in France.
It' OK for sheets very thin but my claybody is short of plasticity for stamp (Press clay over a mould).
I add bentonite and ball-clay (10%) in my porcelain clay and 20% wrapped paper.
I fired to 1280°C .
I would like a Porcelain very white after fired and thin but strong.
It's possible ?
I very enjoyed to find documentation on the web and I thank you for this.
In France only a lot of people are working with paperclay.
Sometimes, I buy paperclay in Swizerland coming from Deuchland but he is yellowish after fired and the surface shows some of black points.
I will like discute with you but I limited by language. I'm sorry
Sincerly yours
Jackie Bienvenu
If I'm not progressing in ceramic, perhaps, I will progress in English !
Subject: paper clay coloring before firing Name: rickie beth epstein Date Posted: May 14, 03 - 1:07 PM Email: [email protected]
i am new to paperclay.
i just bought some - and actually am looking for a pure white paperclay.
this is because i want to color it prior to drying.
any clues as to what kind of medium to use?
i trie tempera, acrylic, pearl lusters, etc. and found that i use a LOT of medium and it is no even.
what do i do?
please respond to my email at:[email protected]
i look forward to your replies - and thank you for your time.
ps. i live near san francisco, Ca.
Subject: % paper, air bubbles, different clays and dry joining Name: Andrea Adami Date Posted: Apr 28, 03 - 5:11 PM Email: [email protected]
Dear Graham
Your work is ethereal, fragile and inspiring and I have many questions regarding the process of sculpting with paperclay.
A couple of questions, the answers to which I cannot find in any book on any shelf in any bookstore.
I've chosen to use Porcelain slip, because I prefer a finer clay and my mix is 1 part pulp to 3 parts slip.
1) Can p/clay be used in such a fine mix or is more pulp required to make the green strength stronger, thereby losing the fine texture to a certain extent?
2) I prefer to pour slabs and assemble or construct my pieces rather than "fashion" them, are air bubbles or the avoidance of them, still an issue as with normal clay?
3) I see you've used two types of clay on the same piece, did you fire them seperately and then join them?
4) When you join a leatherhard section onto a bone dry section, do you have to make the bone dry part wet at all and if so how much?
5) Would like to add organic bits dipped in p/clay onto my pieces. String and such. Ever done it and did it work?
If you have the time, some answers would be great. If not, so be it.
Your countrymen are playing cricket against the Brits in my city as we speak, so that's where I'm headed.
Look forward to your reply
Sincerely
Andrea Adami
South Africa
Subject: paperclay Name: Dilek Date Posted: Apr 14, 03 - 6:08 AM Email: [email protected]
Dear Mr. Graham
Hello again I'm Dilek from Turkey
I'm continued research about paperclay. Now I want to write articles about what is paperclay and its historical developments for symposium(in Turkey, Eskiþehir city).
You know Paperclay is not widespread in Turkey so some ceramic artist work with this material.
I read R. Gaulth;s book, A. Lightwood;s book and looked your website and other sites but I didnt see any knowledge about Japans and USAs paperclay works in PCs historical development.
So I need knowledge about PCs historical development in Japan and USA.
Do you have knowladge about this, can you help me this subject?
Im waiting your mail
Thanks your interest.
See you Bye )
Dilek Alkan
Subject: How much paper, air bubbles etc Name: Andrea Adami Date Posted: Mar 9, 03 - 4:38 PM Email: [email protected]
Dear Graham
Your work is ethereal, fragile and inspiring and I have many questions regarding the process of sculpting with paperclay.
A couple of questions, the answers to which I cannot find in any book on any shelf in any bookstore.
I've chosen to use Porcelain slip, because I prefer a finer clay and my mix is 1 part pulp to 3 parts slip.
1) Can p/clay be used in such a fine mix or is more pulp required to make the green strength stronger, thereby losing the fine texture to a certain extent?
2) I prefer to pour slabs and assemble or construct my pieces rather than "fashion" them, are air bubbles or the avoidance of them, still an issue as with normal clay?
3) I see you've used two types of clay on the same piece, did you fire them seperately and then join them?
4) When you join a leatherhard section onto a bone dry section, do you have to make the bone dry part wet at all and if so how much?
5) Would like to add organic bits dipped in p/clay onto my pieces. String and such. Ever done it and did it work?
If you have the time, some answers would be great. If not, so be it.
Your countrymen are playing cricket against the Brits in my city as we speak, so that's where I'm headed.
Look forward to your reply
Sincerely
Andrea Adami
South Africa
[email protected]
Subject: Re: How much paper, air bubbles etc Name: Graham Hay Date Posted: Mar 9, 03 - 4:46 PM
Dear Andrea
In response to your question I provide the following:
1) It's a toss-up when adding paper pulp ie more paper means stronger green paperclay, but weaker fired clay, and the reverse.
You're read my and other’s receipts (and ratios), but ultimately it's a matter of try any/all and see what suits you.
If you must have the fine texture, despite needing a high paper content, then there is nothing stopping you pouring a lower paper content paperclay slip over the dry/wet paperclay work and smoothing it with a spoon/stone.
2) Ignore air bubble issues as the hollow paper fibres burn out and also the fibres and their holes allow air to escape.
If large hollow chambers, still drill holes to release expanding air during the firing.
3) Depends on the piece, but in many cases the clays have similar firing ranges and I can combine them when soft/dry and fire.
A student of mine, Milton Cocks, innocently did this over four years ago and his work fired OK.
It's a brave new world with paperclay and we must be open to learn from each other, and be willing to share with others.
4) Depends on how thick and large it is, relative to the leather hard section.
Also how much fibre is in the paperclay and how "runny" the liquid paperclay slip ("glue") is, that is being used.
Ideally both sections should be the same dampness, if not use more "runny" glue.
If the dry paperclay is very large relative to the soft section, then soak it in water, before using the glue to join them.
Test your joining technique by trying to break dry work just before firing, or test and trash works after firing.
5) Dip wool, not string, into paperclay slip.
Allow it to dry before repeating about 3-4 times.
Slow the speed you pull it through the slip to increase the amount of paperclay sticking to the paperclay wool.
A very time efficient way to create 40 m of coils (5 minutes for each coat, between drying periods).
Dry, cut into 30 cm lengths and store until needed. The open gaps between the wool (as opposed to the solid core in string) enable more clay (ie fired strength) for the same thickness of paperclay wool.
Cheers
Graham
Subject: making flax clay Name: Philip Vanneste Date Posted: Dec 1, 02 - 11:20 AM Email: [email protected]
Dear all,
I am trying to prepare flaxclay myself. Now, I have cut flax-fibers in pieces of about 1 cm or less.
Questions:
1) is this the good length ?
2) anybody knows about a method to cut flax fast ? It took me a while doing this with a pair of scissors !
3) how much flax should I put in my clay (in volume) ?
should I wet it before adding it ?
Look forward to your answers !
Philip
Subject: Re: Firing Paper Clay Name: Barbara Date Posted: Nov 21, 02 - 1:43 AM
Dear Graham,
I was really pleased to have the chance to talk to you (by phone) a couple of weeks ago and have found your website most informative. Thank you for spending the time to tell me about it.
I am about to complete my teaching prac at John Curtin College of the Arts in Fremantle (West Australia) & am about to fire the pieces made by Year 10 students. Their efforts are looking terrific; they have responded to my efforts to encourage them to be adventurous & they have created some really terrific heads with amazing headgear. They are currently applying glaze & we will soon be firing their pieces. I am looking forward to seeing the results.
Gill Treichel conducted a workshop for ECU students some months back & gave us instructions re firing, but I still feel a little uncertain about the procedure and don't want to mess up. I'll phone Gill tomorrow for clarification.
I am writing this email because I have explored paper clay websites widely & have been unable to find explicit instructions on the practical matter of firing the pieces once they have been made.
I think it would be really helpful if you could include a section on your website which is devoted to purely technical matters ... eg step by step ... constructing, glazing, firing.
I look forward to hearing what you think of this suggestion & hope to be able to find this info on your website in the near future!
Regards,
Barbara
Subject: Re: Re: Firing Paper Clay Name: Graham Date Posted: Nov 21, 02 - 1:49 AM
Dear Barbara
Thank you for your very useful constructive criticisms on the website. I will try to make it easier for beginners sometime in the future.
But until then visit http://www.grahamhay.com.au/hay1999ancient.html for step by step building.
Fire to the temperature written on the bag.
Each paperclay maker makes their paperclay from their usual clay, for which they have specific and extensive technical information. I suggest you visit the suppliers webpage (http://www.grahamhay.com.au/suppliers.html ) which has links to their website/or contact details.
Unfortunately they do change their clays from time to time and I have neither the time nor money to keep up to date.
I currently use blackwattle earthenware paperclay, fire to 1160 (about 10 degrees above what is says on the bag) with a 1/2 hour soak.
This temperature suits the kiln I borrow, but then it may not accurately be telling me the correct temperature.
Unfortunately I have only glazed four paperclay works in the last 10 years, so can not offer you any specific advice.
However, once again the manufacturers (and local retailers of their paperclay) know what works and does not work on their clay body.
Once paperclay is fired over 200 degrees the paper burns out and you are left with the original clay body.
Glazes which work with this clay body should also work with the same clay as a paperclay.
That's the theory!
Best of luck
Graham
Subject: porcelain paper clay Name: andrea adami Date Posted: Nov 17, 02 - 12:25 PM Email: [email protected]
Hello.
i have recently begun experimenting with porcelain paperclay and have two fairly simple questions.
1. In terms of burn-up on the kiln, what would be the best material to use as armatures for tall pieces?
2. Is eliminating air pockets/bubbles when assembling pieces as important as when working with normal clay?
Andrea
Subject: PaperclayResearch Name: Gry Ringset Date Posted: Nov 8, 02 - 5:23 AM Email: [email protected]
Hello!
I have for some time read your excellent paperclay information on the web and your published articles.
It is really nice to see the explosive interest in paperclay.
I'm a ceramist my self, working with a practice based Ph.D the National College of Art and Design in Oslo, Norway, on a project with porcelain sheets.
I started my experimentation with fiberglass and porcelain in 1987 and graduated in 1991 with a MA with an installation on fiberglass and porcelain.
After pacemaking studies in Japan 1994, I started to work with my project based on papermaking fibers and porcelain.
I have really been sourcing for works made of paperclay sheets and/or porcelain sheets in the world and it's not so much about it.
I read about Jaromir Kusnik's paperclay sheets in your article and I am very interested in more information published about his works.
I am also interested in others who works with Ph.D in this subject.
Choi Jae-eun is a Ph.D student at Göteborg University with a project on Recycling of Paper in Porcelain.
Her address is: [email protected] or http://www.hdk.gu.se
Thank you for any help!
With best regards from
Gry Ringset.
(research fellow)
Subject: Re: Paperclay Research Name: Graham hay Date Posted: Nov 8, 02 - 5:28 AM
Dear Gry
I have posted a paper copy to Jaromir of your email and Choi Jae-eun's website.
In addition I have posted a copy of your email on the paperclay forum so that others may contact you direct.
Thank you for your contribution to our knowledge of paperclay.
cheers
Graham
Subject: Re: Re: Paperclay Research:My research project with a stranger’s name Name: Kim Jeoung-Ah Date Posted: Oct 22, 03 - 4:51 AM Email: [email protected]
Dear,
This is Kim Jeoung-Ah from Sweden work with a research project “Recycling of paper in Porcelain”.
I wonder where did you get a name "Choi Jae-Eun" with my own project.
I just want to make it correct.
This is my research home page http://www.hdk.gu.se/forskning/kim/index.html
Good luck with your project.
Subject: my first piece! Name: Barbara Woodliff Date Posted: Sep 22, 02 - 1:09 PM Email: [email protected]
Hello Graham,
I just wanted to introduce myself and tell you that I just finished my first paperclay piece.
I'm teaching myself, I bought Gault's book and 25 lbs of p'clay and some p'slip.
I have a small kiln at my disposal.
I'm brand new at all of this but if I don't create, I'll go nuts.
Thanks for your forum.
Barbara in Bellingham, Washington, USA
Subject: Re: paperclay and raku
Replying to:
Hello Graham,
Im trying to find out if paperclay made with raku is possible or not worth the effort.
If it will survive firing or is there another clay that will give the same look if raku fired.
hope this makes sense ..
Kaye
Subject: Re: paperclay and raku Name: Ababi Sharon Date Posted: Jul 23, 02 - 3:46 AM Email: [email protected]
Yes you can, of course you must test first carfuly in the first raku session.
As you talk about sculptural work, you better have some small holes to let the air out when you deep it in water otherwise the sculptore will breake a part
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
[email protected]
http://members4.clubphoto.com/ababi306910/
Subject: Re: Re: raku paperclay Name: Graham Date Posted: Sep 17, 02 - 10:47 AM
just a quick thank you for taking the time to answer.
As I have no Raku experience with paperclay I suggest you vist Irene Poulton's Raku website at http://members.iinet.net.au/~shaper/ and I suggest you talk/email her as she has experience with both.
Cheers
Graham
ps sory for the delay as I'm overseas
Subject: Fast drying Name: Ababi Sharon Date Posted: Jul 23, 02 - 2:27 AM Email: [email protected]
Hello Graham
I plan to make a workshop for potters about paperclay.
I have this question to you; Drying in the kiln. When I do it I raise the temp slowly up to 70-80C.
May I put the fresh - just -now -made- works at 80C after pre heating of the kiln to 80c?.
This way I can start with practical work , while drying in the kiln I can show how to prepare the slip and the paper.
Than go back to the dried works.
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
[email protected]
Paperclay http://members4.clubphoto.com/ababi306910/803792/
Hebrew paperclay http://members4.clubphoto.com/ababi306910/839502/
Two thing are shown in this page: The ability to work wet and dry. The ability to burnish a pot and connect the parts afterwards.
Subject: Re: Fast drying Name: Graham Date Posted: Jul 23, 02 - 10:01 AM
Sounds good.
I have done speed drying when arrive to do a short workshop on dry to dry joins and found no requested prepared dry clay.
Carefull not to heat thick paperclay too quickly as the steam will come out too quickly and blow the sheets apart.
Suggest crack open the kiln door to moderate temp.
Anyone have suggestions/experiences on this?
Subject: workshops Name: Sue Bateson Date Posted: Jul 18, 02 - 8:28 PM Email: [email protected]
Hi graham,
Am interested to know if you will be available for any workshops whilst you are in Victoria next year for the ceramics Symposium in Bendigo.
Subject: Re: workshops Name: Graham Date Posted: Jul 23, 02 - 10:04 AM
I would be interested Please email me direct (see website).
This is a discussion group forum on paperclay for the sharing ideas and problems.
Thanks
Subject: paperclay and raku Name: jan Date Posted: Jun 25, 02 - 3:15 AM Email: [email protected]
CAN i RAKU PAPERCLAY?
iF YES THEN AT WHAT TEMPERATURE?
iWANT TO RAKU A SCULPURE. tHE THINNEST PART IS ONE CENTIMETRE THICK .
iT HAS A HOLE 4 MILLIMETRES THICK INSIDE THE NECK .IS THIS LIKELY TO CRACK WHEN THE PAPER IN THE CLAY BURNS OUT?
yOUR REPLIES WILL BE APPRECIATED.
Subject: Re: paperclay and raku Name: Ababi Sharon Date Posted: Jul 23, 02 - 3:46 AM Email: [email protected]
Yes you can, of course you must test first carfuly in the first raku session.
As you talk about sculptural work, you better have some small holes to let the air out when you deep it in water otherwise the sculptore will breake a part
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
[email protected]
http://members4.clubphoto.com/ababi306910/
Name: Evelyn Paarkin
Date Posted: Feb 2, 04 - 7:07 PM
I have been making paperclay slabs and creating a decoration with paperclay slurry and painting with sulphates for colour.
I then fire them to approx 950 degrees in my gas kiln in a saggar type situation with organic materials.
Colour response can be random and in some cases I have not been happy with the fired results and would like a second chance.
My paper clay body is one I make myself from Keans 7 stoneware 2 thirds clay to 1 third paper.
My question is: now that the piece has been fired is it possible to add more paperclay slurry and refire successfully.
Will this slurry adhere to the fired piece?
Thanking you, Evelyn
Subject: Re: refiring paperclay
Name: Graham
Date Posted: Feb 18, 04 - 3:33 PM
Dear Evelyn
In the dim dark past ( 1995) I had added paperclay slurry to fired paperclay and refired it successfully!
The v.v. small holes created when the paper (cellulose fibres) burn out create a "tooth" for the slurry to join on.
Just be mindful that the fired clay is unlikely to shrink further, while the slurry paperclay will want to shrink while it dries. So it's best not to make very long joints between the two clays.
It's an area that I really wanted to research but have never got back to.
So if you do some work in this area, please write it up (either here or any of the ceramic journals-I'm sure they will be interested), so that others can learn from your experiences.
All the best
Graham
Subject: Re: Re: refiring paperclay
Name: Evelyn Paarkin
Date Posted: Feb 19, 04 - 7:56 PM
Thankyou for your response to my question re refiring paper clay.
I have in the meantime done one test, applying a layer of slurry to an already fired piece and it does seem to work.
I wanted to cover some unsatisfactory colours on a flat piece of work so used a fine slurry and painted over the specific areas then applyed more colour.
I was more than happy with the result although on the edges of the piece where I feel the slurry was thicker it cracked and chipped off.
So of course, as any good potter will agree, this just means more tests but I enjoy the challenge.
Shall do as you suggest and detail my findings as I go.
Many many thanks.
Evelyn
Subject: paper clay special mix
Name: Jean-Jacques
Date Posted: Dec 20, 03 - 2:14 AM
Message: Hi ! All
I am Happy to found your site !
I am totally newby in this domain and maybe can you help me .
I would like to make a paper clay mix who can be cooked in electric kiln or who dry at air.
What sort of argile and other adjuvant (natural if possible) could i use ?
and after what could I put on it to be really waterproof ?
Thanks in advance
Best regards
Jean-Jacques
Subject: Re: paper clay special mix
Name: Graham
Date Posted: Jan 8, 04 - 5:17 PM
Dear Jean-Jacques
Based upon my experience with home-made and purchased paperclay, most are stronger than normal clay if air dried.
The fibres hold it together.
While I recommend a water sealant, such as PVA glue or Bondcrete for work that is unfired and will remain inside (ie away from water), I don't recommend unfired work be placed outside, regardless of the waterproofer used.
A single pinprick or bubble will enable water to get in and the paperclay does love to suck up water, just like paper towels.
Also if making your own paperclay, the addition of glue in powder form to the dry clay will further increase the strength of the final unfired work.
cheers
Graham
Subject: Painting paperclay
Name: Peter
Date Posted: Dec 19, 03 - 8:15 PM
My notes from a workshop with Graham earlier this year refer to painting paperclay with undiluted acrylic paints.
I have done this successfully.
I wondered if anyone had used gloss enamel (oil based) paints?
I have tested a small area on once-fired paperclay with no apparent problems.
I would like to use up a number of bright enamel paints currently on the workshop shelf.
Subject: Re: Painting paperclay Date Posted: Jan 7, 04 - 9:57 PM
Peter
Just think of the fired paperclay as brick(because that's what fired clay/paperclay is)-then check with your local paint shop if unsure.
Usually a primer helps, or diluted (turps?)paint will do, before final coats.
Just as you would with wood.
Cheers
Graham
Subject: Re: Re: Painting paperclay
Name: Peter
Date Posted: Mar 3, 04 - 9:19 PM
Sculptures are frogs on logs.
I have quite successfully painted one creation in several different coloured oil based enamel paints.
Quite pleased with the result.
Also colouring and glazing others in the normal way.
Thank you Graham
Subject: HELP
Name: new
Date Posted: Mar 3, 04 - 8:38 PM
What are your compressed paper sculptures about?
Subject: Re: HELP
Name: Graham
Date Posted: Mar 10, 04 - 4:35 AM
http://www.grahamhay.com.au/details.html
and especially
http://www.grahamhay.com.au/hay2004tafta.html give fuller answer to your question.
cheers
Graham
Subject: paperclay Name: Dilek Alkan-Özdemir Date Posted: Dec 2, 03 - 1:54 AM Email: [email protected]
Dear Mr. Graham,
I’m Dilek from Turkey.
I’m still research about paperclay.
I wonder something about your work.
Your some works are so fragile and complex, it is difficult built them.
Before paperclay, can you build complex and fragile form? Otherwise, is paperclay suitable material for like these forms?
Thank you.
Dilek Alkan-Özdemir
Subject: Re: paperclay Name: Graham Date Posted: Jan 7, 04 - 10:02 PM Message: Dear Dilek
One of the major reasons I use paperclay is that it enables me to build delicate forms. I roll them out then shape, allow to completely dry (so they don't sag while I build), then use the dip and stick technique (see articules on website).
I have looked back over my pre 1992 work and yes, osccassionally I built delicate & complex works, but not often because it was difficult.
Subject: Warping Name: Elly B Date Posted: Oct 8, 03 - 4:24 AM Email: [email protected]
Graham
Having seen your talk at Aberystwyth I am now finally in a position to begin experimenting with paperclay!
I have read that paperclay does not warp in the same way that unaltered clay does.
Does this apply to drying only or also to firing?
I look forward to hearing from you!
Regards,
Elly.
Subject: Re: Warping Name: Kim Jeoung-Ah Date Posted: Oct 22, 03 - 6:35 AM Email: [email protected]
Applicable in both drying and firing however it definitely depends on your mother clay body (clay type), working method and the percentage of paper fibre in your clay.
It also influences by firing temperature and firing method.
Subject: firing paper clay electric kiln Name: alana Date Posted: Aug 9, 03 - 8:31 AM Email: [email protected]
Graham, thankyou for this forum structure.
I have done my first firing of paper clay in my beat up electric kiln.
It was a test fire so nothing important in the kiln, one piece on each of the three shelves.
Fired two hours open on low, 3 hrs open on medium for burn, closed on high.
after two hours on high this brown plastic like substance started bubbling and oozing and smoking from the seam at bottom of kiln between legs and body of kiln.
I shut it down. Thought everything was mush inside! but on opening next day discovered a clean kiln with pieces all in one piece bisqued.
Orton cone 05 was down.
One friend suggested perhaps some chemical reaction occured with kiln cement?? (nothing was ever done to the kiln body since purchase) and preservatives in clay body???
using Tuckers low fire P'Clay white body, Canadian supplier.
The goop is brown, hardened immediately with contact with concrete floor but did not stick and pings (when you strike it) like a hard plastic???
ever heard of this before???
alana
Subject: Re: firing paper clay electric kiln Name: Peter Date Posted: Oct 23, 03 - 11:11 AM Email: [email protected]
Alana
I have often smoke fired work in a drum stuffed full of shredded paper and let it burn for 24 hours.
It leaves a black hard deposit that I assume is carbon on the inside of the 'kiln'.
I have seen a brown gunge (that matches your description) leaking from the lid that hardens when cool.
It's not the clay as it happens with every type I've tried and I can only imagine it is tar from the smoldering paper.
Subject: paperclay Name: jackie Bienvenu Date Posted: Jul 25, 03 - 9:40 AM Email: [email protected]
Dear Graham
I'm writing from France, so excuse me for my bad English.
Only a few months, I'm working with paperclay homemade with industrial porcelain clay for casting coming from Limoges in France.
It' OK for sheets very thin but my claybody is short of plasticity for stamp (Press clay over a mould).
I add bentonite and ball-clay (10%) in my porcelain clay and 20% wrapped paper.
I fired to 1280°C .
I would like a Porcelain very white after fired and thin but strong.
It's possible ?
I very enjoyed to find documentation on the web and I thank you for this.
In France only a lot of people are working with paperclay.
Sometimes, I buy paperclay in Swizerland coming from Deuchland but he is yellowish after fired and the surface shows some of black points.
I will like discute with you but I limited by language. I'm sorry
Sincerly yours
Jackie Bienvenu
If I'm not progressing in ceramic, perhaps, I will progress in English !
Subject: paper clay coloring before firing Name: rickie beth epstein Date Posted: May 14, 03 - 1:07 PM Email: [email protected]
i am new to paperclay.
i just bought some - and actually am looking for a pure white paperclay.
this is because i want to color it prior to drying.
any clues as to what kind of medium to use?
i trie tempera, acrylic, pearl lusters, etc. and found that i use a LOT of medium and it is no even.
what do i do?
please respond to my email at:[email protected]
i look forward to your replies - and thank you for your time.
ps. i live near san francisco, Ca.
Subject: % paper, air bubbles, different clays and dry joining Name: Andrea Adami Date Posted: Apr 28, 03 - 5:11 PM Email: [email protected]
Dear Graham
Your work is ethereal, fragile and inspiring and I have many questions regarding the process of sculpting with paperclay.
A couple of questions, the answers to which I cannot find in any book on any shelf in any bookstore.
I've chosen to use Porcelain slip, because I prefer a finer clay and my mix is 1 part pulp to 3 parts slip.
1) Can p/clay be used in such a fine mix or is more pulp required to make the green strength stronger, thereby losing the fine texture to a certain extent?
2) I prefer to pour slabs and assemble or construct my pieces rather than "fashion" them, are air bubbles or the avoidance of them, still an issue as with normal clay?
3) I see you've used two types of clay on the same piece, did you fire them seperately and then join them?
4) When you join a leatherhard section onto a bone dry section, do you have to make the bone dry part wet at all and if so how much?
5) Would like to add organic bits dipped in p/clay onto my pieces. String and such. Ever done it and did it work?
If you have the time, some answers would be great. If not, so be it.
Your countrymen are playing cricket against the Brits in my city as we speak, so that's where I'm headed.
Look forward to your reply
Sincerely
Andrea Adami
South Africa
Subject: paperclay Name: Dilek Date Posted: Apr 14, 03 - 6:08 AM Email: [email protected]
Dear Mr. Graham
Hello again I'm Dilek from Turkey
I'm continued research about paperclay. Now I want to write articles about what is paperclay and its historical developments for symposium(in Turkey, Eskiþehir city).
You know Paperclay is not widespread in Turkey so some ceramic artist work with this material.
I read R. Gaulth;s book, A. Lightwood;s book and looked your website and other sites but I didnt see any knowledge about Japans and USAs paperclay works in PCs historical development.
So I need knowledge about PCs historical development in Japan and USA.
Do you have knowladge about this, can you help me this subject?
Im waiting your mail
Thanks your interest.
See you Bye )
Dilek Alkan
Subject: How much paper, air bubbles etc Name: Andrea Adami Date Posted: Mar 9, 03 - 4:38 PM Email: [email protected]
Dear Graham
Your work is ethereal, fragile and inspiring and I have many questions regarding the process of sculpting with paperclay.
A couple of questions, the answers to which I cannot find in any book on any shelf in any bookstore.
I've chosen to use Porcelain slip, because I prefer a finer clay and my mix is 1 part pulp to 3 parts slip.
1) Can p/clay be used in such a fine mix or is more pulp required to make the green strength stronger, thereby losing the fine texture to a certain extent?
2) I prefer to pour slabs and assemble or construct my pieces rather than "fashion" them, are air bubbles or the avoidance of them, still an issue as with normal clay?
3) I see you've used two types of clay on the same piece, did you fire them seperately and then join them?
4) When you join a leatherhard section onto a bone dry section, do you have to make the bone dry part wet at all and if so how much?
5) Would like to add organic bits dipped in p/clay onto my pieces. String and such. Ever done it and did it work?
If you have the time, some answers would be great. If not, so be it.
Your countrymen are playing cricket against the Brits in my city as we speak, so that's where I'm headed.
Look forward to your reply
Sincerely
Andrea Adami
South Africa
[email protected]
Subject: Re: How much paper, air bubbles etc Name: Graham Hay Date Posted: Mar 9, 03 - 4:46 PM
Dear Andrea
In response to your question I provide the following:
1) It's a toss-up when adding paper pulp ie more paper means stronger green paperclay, but weaker fired clay, and the reverse.
You're read my and other’s receipts (and ratios), but ultimately it's a matter of try any/all and see what suits you.
If you must have the fine texture, despite needing a high paper content, then there is nothing stopping you pouring a lower paper content paperclay slip over the dry/wet paperclay work and smoothing it with a spoon/stone.
2) Ignore air bubble issues as the hollow paper fibres burn out and also the fibres and their holes allow air to escape.
If large hollow chambers, still drill holes to release expanding air during the firing.
3) Depends on the piece, but in many cases the clays have similar firing ranges and I can combine them when soft/dry and fire.
A student of mine, Milton Cocks, innocently did this over four years ago and his work fired OK.
It's a brave new world with paperclay and we must be open to learn from each other, and be willing to share with others.
4) Depends on how thick and large it is, relative to the leather hard section.
Also how much fibre is in the paperclay and how "runny" the liquid paperclay slip ("glue") is, that is being used.
Ideally both sections should be the same dampness, if not use more "runny" glue.
If the dry paperclay is very large relative to the soft section, then soak it in water, before using the glue to join them.
Test your joining technique by trying to break dry work just before firing, or test and trash works after firing.
5) Dip wool, not string, into paperclay slip.
Allow it to dry before repeating about 3-4 times.
Slow the speed you pull it through the slip to increase the amount of paperclay sticking to the paperclay wool.
A very time efficient way to create 40 m of coils (5 minutes for each coat, between drying periods).
Dry, cut into 30 cm lengths and store until needed. The open gaps between the wool (as opposed to the solid core in string) enable more clay (ie fired strength) for the same thickness of paperclay wool.
Cheers
Graham
Subject: making flax clay Name: Philip Vanneste Date Posted: Dec 1, 02 - 11:20 AM Email: [email protected]
Dear all,
I am trying to prepare flaxclay myself. Now, I have cut flax-fibers in pieces of about 1 cm or less.
Questions:
1) is this the good length ?
2) anybody knows about a method to cut flax fast ? It took me a while doing this with a pair of scissors !
3) how much flax should I put in my clay (in volume) ?
should I wet it before adding it ?
Look forward to your answers !
Philip
Subject: Re: Firing Paper Clay Name: Barbara Date Posted: Nov 21, 02 - 1:43 AM
Dear Graham,
I was really pleased to have the chance to talk to you (by phone) a couple of weeks ago and have found your website most informative. Thank you for spending the time to tell me about it.
I am about to complete my teaching prac at John Curtin College of the Arts in Fremantle (West Australia) & am about to fire the pieces made by Year 10 students. Their efforts are looking terrific; they have responded to my efforts to encourage them to be adventurous & they have created some really terrific heads with amazing headgear. They are currently applying glaze & we will soon be firing their pieces. I am looking forward to seeing the results.
Gill Treichel conducted a workshop for ECU students some months back & gave us instructions re firing, but I still feel a little uncertain about the procedure and don't want to mess up. I'll phone Gill tomorrow for clarification.
I am writing this email because I have explored paper clay websites widely & have been unable to find explicit instructions on the practical matter of firing the pieces once they have been made.
I think it would be really helpful if you could include a section on your website which is devoted to purely technical matters ... eg step by step ... constructing, glazing, firing.
I look forward to hearing what you think of this suggestion & hope to be able to find this info on your website in the near future!
Regards,
Barbara
Subject: Re: Re: Firing Paper Clay Name: Graham Date Posted: Nov 21, 02 - 1:49 AM
Dear Barbara
Thank you for your very useful constructive criticisms on the website. I will try to make it easier for beginners sometime in the future.
But until then visit http://www.grahamhay.com.au/hay1999ancient.html for step by step building.
Fire to the temperature written on the bag.
Each paperclay maker makes their paperclay from their usual clay, for which they have specific and extensive technical information. I suggest you visit the suppliers webpage (http://www.grahamhay.com.au/suppliers.html ) which has links to their website/or contact details.
Unfortunately they do change their clays from time to time and I have neither the time nor money to keep up to date.
I currently use blackwattle earthenware paperclay, fire to 1160 (about 10 degrees above what is says on the bag) with a 1/2 hour soak.
This temperature suits the kiln I borrow, but then it may not accurately be telling me the correct temperature.
Unfortunately I have only glazed four paperclay works in the last 10 years, so can not offer you any specific advice.
However, once again the manufacturers (and local retailers of their paperclay) know what works and does not work on their clay body.
Once paperclay is fired over 200 degrees the paper burns out and you are left with the original clay body.
Glazes which work with this clay body should also work with the same clay as a paperclay.
That's the theory!
Best of luck
Graham
Subject: porcelain paper clay Name: andrea adami Date Posted: Nov 17, 02 - 12:25 PM Email: [email protected]
Hello.
i have recently begun experimenting with porcelain paperclay and have two fairly simple questions.
1. In terms of burn-up on the kiln, what would be the best material to use as armatures for tall pieces?
2. Is eliminating air pockets/bubbles when assembling pieces as important as when working with normal clay?
Andrea
Subject: PaperclayResearch Name: Gry Ringset Date Posted: Nov 8, 02 - 5:23 AM Email: [email protected]
Hello!
I have for some time read your excellent paperclay information on the web and your published articles.
It is really nice to see the explosive interest in paperclay.
I'm a ceramist my self, working with a practice based Ph.D the National College of Art and Design in Oslo, Norway, on a project with porcelain sheets.
I started my experimentation with fiberglass and porcelain in 1987 and graduated in 1991 with a MA with an installation on fiberglass and porcelain.
After pacemaking studies in Japan 1994, I started to work with my project based on papermaking fibers and porcelain.
I have really been sourcing for works made of paperclay sheets and/or porcelain sheets in the world and it's not so much about it.
I read about Jaromir Kusnik's paperclay sheets in your article and I am very interested in more information published about his works.
I am also interested in others who works with Ph.D in this subject.
Choi Jae-eun is a Ph.D student at Göteborg University with a project on Recycling of Paper in Porcelain.
Her address is: [email protected] or http://www.hdk.gu.se
Thank you for any help!
With best regards from
Gry Ringset.
(research fellow)
Subject: Re: Paperclay Research Name: Graham hay Date Posted: Nov 8, 02 - 5:28 AM
Dear Gry
I have posted a paper copy to Jaromir of your email and Choi Jae-eun's website.
In addition I have posted a copy of your email on the paperclay forum so that others may contact you direct.
Thank you for your contribution to our knowledge of paperclay.
cheers
Graham
Subject: Re: Re: Paperclay Research:My research project with a stranger’s name Name: Kim Jeoung-Ah Date Posted: Oct 22, 03 - 4:51 AM Email: [email protected]
Dear,
This is Kim Jeoung-Ah from Sweden work with a research project “Recycling of paper in Porcelain”.
I wonder where did you get a name "Choi Jae-Eun" with my own project.
I just want to make it correct.
This is my research home page http://www.hdk.gu.se/forskning/kim/index.html
Good luck with your project.
Subject: my first piece! Name: Barbara Woodliff Date Posted: Sep 22, 02 - 1:09 PM Email: [email protected]
Hello Graham,
I just wanted to introduce myself and tell you that I just finished my first paperclay piece.
I'm teaching myself, I bought Gault's book and 25 lbs of p'clay and some p'slip.
I have a small kiln at my disposal.
I'm brand new at all of this but if I don't create, I'll go nuts.
Thanks for your forum.
Barbara in Bellingham, Washington, USA
Subject: Re: paperclay and raku
Replying to:
Hello Graham,
Im trying to find out if paperclay made with raku is possible or not worth the effort.
If it will survive firing or is there another clay that will give the same look if raku fired.
hope this makes sense ..
Kaye
Subject: Re: paperclay and raku Name: Ababi Sharon Date Posted: Jul 23, 02 - 3:46 AM Email: [email protected]
Yes you can, of course you must test first carfuly in the first raku session.
As you talk about sculptural work, you better have some small holes to let the air out when you deep it in water otherwise the sculptore will breake a part
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
[email protected]
http://members4.clubphoto.com/ababi306910/
Subject: Re: Re: raku paperclay Name: Graham Date Posted: Sep 17, 02 - 10:47 AM
just a quick thank you for taking the time to answer.
As I have no Raku experience with paperclay I suggest you vist Irene Poulton's Raku website at http://members.iinet.net.au/~shaper/ and I suggest you talk/email her as she has experience with both.
Cheers
Graham
ps sory for the delay as I'm overseas
Subject: Fast drying Name: Ababi Sharon Date Posted: Jul 23, 02 - 2:27 AM Email: [email protected]
Hello Graham
I plan to make a workshop for potters about paperclay.
I have this question to you; Drying in the kiln. When I do it I raise the temp slowly up to 70-80C.
May I put the fresh - just -now -made- works at 80C after pre heating of the kiln to 80c?.
This way I can start with practical work , while drying in the kiln I can show how to prepare the slip and the paper.
Than go back to the dried works.
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
[email protected]
Paperclay http://members4.clubphoto.com/ababi306910/803792/
Hebrew paperclay http://members4.clubphoto.com/ababi306910/839502/
Two thing are shown in this page: The ability to work wet and dry. The ability to burnish a pot and connect the parts afterwards.
Subject: Re: Fast drying Name: Graham Date Posted: Jul 23, 02 - 10:01 AM
Sounds good.
I have done speed drying when arrive to do a short workshop on dry to dry joins and found no requested prepared dry clay.
Carefull not to heat thick paperclay too quickly as the steam will come out too quickly and blow the sheets apart.
Suggest crack open the kiln door to moderate temp.
Anyone have suggestions/experiences on this?
Subject: workshops Name: Sue Bateson Date Posted: Jul 18, 02 - 8:28 PM Email: [email protected]
Hi graham,
Am interested to know if you will be available for any workshops whilst you are in Victoria next year for the ceramics Symposium in Bendigo.
Subject: Re: workshops Name: Graham Date Posted: Jul 23, 02 - 10:04 AM
I would be interested Please email me direct (see website).
This is a discussion group forum on paperclay for the sharing ideas and problems.
Thanks
Subject: paperclay and raku Name: jan Date Posted: Jun 25, 02 - 3:15 AM Email: [email protected]
CAN i RAKU PAPERCLAY?
iF YES THEN AT WHAT TEMPERATURE?
iWANT TO RAKU A SCULPURE. tHE THINNEST PART IS ONE CENTIMETRE THICK .
iT HAS A HOLE 4 MILLIMETRES THICK INSIDE THE NECK .IS THIS LIKELY TO CRACK WHEN THE PAPER IN THE CLAY BURNS OUT?
yOUR REPLIES WILL BE APPRECIATED.
Subject: Re: paperclay and raku Name: Ababi Sharon Date Posted: Jul 23, 02 - 3:46 AM Email: [email protected]
Yes you can, of course you must test first carfuly in the first raku session.
As you talk about sculptural work, you better have some small holes to let the air out when you deep it in water otherwise the sculptore will breake a part
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
[email protected]
http://members4.clubphoto.com/ababi306910/
