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A Low Cost Tester of Glaze Melt Fluidity
A One-speed Lab or Studio Slurry Mixer
A Textbook Cone 6 Matte Glaze With Problems
Adjusting Glaze Expansion by Calculation to Solve Shivering
Alberta Slip, 20 Years of Substitution for Albany Slip
An Overview of Ceramic Stains
Are You in Control of Your Production Process?
Are Your Glazes Food Safe or are They Leachable?
Attack on Glass: Corrosion Attack Mechanisms
Ball Milling Glazes, Bodies, Engobes
Binders for Ceramic Bodies
Bringing Out the Big Guns in Craze Control: MgO (G1215U)
Ceramic Glazes Today
Ceramic Material Nomenclature
Ceramic Tile Clay Body Formulation
Changing Our View of Glazes
Chemistry vs. Matrix Blending to Create Glazes from Native Materials
Concentrate on One Good Glaze
Cone 6 Floating Blue Glaze Recipe
Copper Red Glazes
Crazing and Bacteria: Is There a Hazard?
Crazing in Stoneware Glazes: Treating the Causes, Not the Symptoms
Creating a Non-Glaze Ceramic Slip or Engobe
Creating Your Own Budget Glaze
Crystal Glazes: Understanding the Process and Materials
Deflocculants: A Detailed Overview
Demonstrating Glaze Fit Issues to Students
Diagnosing a Casting Problem at a Sanitaryware Plant
Drying Ceramics Without Cracks
Duplicating Albany Slip
Duplicating AP Green Fireclay
Electric Hobby Kilns: What You Need to Know
Fighting the Glaze Dragon
Firing Clay Test Bars
Firing: What Happens to Ceramic Ware in a Firing Kiln
First You See It Then You Don't: Raku Glaze Stability
Fixing a glaze that does not stay in suspension
Formulating a body using clays native to your area
Formulating a Clear Glaze Compatible with Chrome-Tin Stains
Formulating a Porcelain
Formulating Ash and Native-Material Glazes
G1214M Cone 5-7 20x5 Glossy Base Glaze
G1214W Cone 6 Transparent Base Glaze
G1214Z Cone 6 Matte Base Glaze
G1916M Cone 06-04 Base Glaze
G1947U/G2571A Cone 10/10R Base Matte/Glossy Glazes
Getting the Glaze Color You Want: Working With Stains
Glaze and Body Pigments and Stains in the Ceramic Tile Industry
Glaze Chemistry Basics - Formula, Analysis, Mole%, Unity, LOI
Glaze chemistry using a frit of approximate analysis
Glaze Recipes: Formulate Your Own Instead
Glaze Types, Formulation and Application in the Tile Industry
Having Your Glaze Tested for Toxic Metal Release
High Gloss Glazes
How a Material Chemical Analysis is Done
How desktop INSIGHT Deals With Unity, LOI and Formula Weight
How to Find and Test Your Own Native Clays
How to Liner-Glaze a Mug
I've Always Done It This Way!
Inkjet Decoration of Ceramic Tiles
Is Your Fired Ware Safe?
Leaching Cone 6 Glaze Case Study
Limit Formulas and Target Formulas
Low Budget Testing of the Raw and Fired Properties of a Glaze
Low Fire White Talc Casting Body Recipe
Make Your Own Ball Mill Stand
Making Glaze Testing Cones
Monoporosa or Single Fired Wall Tiles
Organic Matter in Clays: Detailed Overview
Outdoor Weather Resistant Ceramics
Overview of Paper Clay
Painting Glazes Rather Than Dipping or Spraying
Particle Size Distribution of Ceramic Powders
Porcelain Tile, Vitrified or Granito Tile
Rationalizing Conflicting Opinions About Plasticity
Ravenscrag Slip is Born
Recylcing Scrap Clay
Reducing the Firing Temperature of a Glaze From Cone 10 to 6
Simple Physical Testing of Clays
Single Fire Glazing
Soluble Salts in Minerals: Detailed Overview
Some Keys to Dealing With Firing Cracks
Stoneware Casting Body Recipes
Substituting Cornwall Stone
Super-Refined Terra Sigillata
The Chemistry, Physics and Manufacturing of Glaze Frits
The Effect of Glaze Fit on Fired Ware Strength
The Four Levels on Which to View Ceramic Glazes
The Majolica Earthenware Process
The Potter's Prayer
The Right Chemistry for a Cone 6 MgO Matte
The Trials of Being the Only Technical Person in the Club
The Whining Stops Here: A Realistic Look at Clay Bodies
Those Unlabelled Bags and Buckets
Tiles and Mosaics for Potters
Toxicity of Firebricks Used in Ovens
Trafficking in Glaze Recipes
Understanding Ceramic Materials
Understanding Ceramic Oxides
Understanding Glaze Slurry Properties
Understanding the Deflocculation Process in Slip Casting
Understanding the Terra Cotta Slip Casting Recipes In North America
Understanding Thermal Expansion in Ceramic Glazes
Unwanted Crystallization in a Cone 6 Glaze
Volcanic Ash
What Determines a Glaze's Firing Temperature?
What is a Mole, Checking Out the Mole
What is the Glaze Dragon?
Where do I start in understanding glazes?
Why Textbook Glazes Are So Difficult

Overview of Paper Clay


A little background information about the origin and an explanation of what paper clay is


Rosette Gault of Seattle, WA (publisher of the booklet Paperclay for Ceramic Sculptors) has been promoting paperclay in many publications in recent years. Brian Gartside, a studio potter from New Zealand is also an early promoter. Paperclay is available from a number of clay manufacturers in North America. Rosette prepared this statement for us:

"Find out more about the many varieties of paper clay earthenwares, terracottas, raku stonewares and porcelains for firing in kilns at See what the expanded sculptural possiblilities of this clay for firing in kilns can be. These types of clays can be used for vessels, pots, tiles, sculptures, figures, casting and/or pressmolds, wall works, murals and are normally compatible with all kinds of glazes, terra sigillatas and in all types of firing. To try paper clay, you can mix your own or in certain areas even get some ready pugged in bags. Details can be found at the site as well as bibiliography, workshop listings, book and supply sources worldwide."

Here is some of the information we are collected about paper clay:

Combining clay and cellulose fiber from paper produces a versatile clay body that can be molded, modelled, slabbed and coiled in ways that seem to break all the rules of working with clay, and by people possessing little skill. The unique properties of paper clay are thought to be due in part to the fact that the fibres are hollow and the tiny clay particles are able to fill them from the inside. Paper clay is claimed to be impossible to crack, difficult to warp during drying and capable of being rewetted from bone dry by immersion in water. It is also claimed that it can be joined at any stage, dry to wet, wet to leatherhard using the paperclay slip as a glue and is said to develop very high green strength that makes it possible to create much lighter ware. However, we found it difficult to use on the wheel and almost impossible to trim or carve (others claim they are able to do so).

Other notes:

Here is an interesting comment from Graham Hay:
"You provide a good overview on paperclay however it only really covers the USA experience and products. A more international focus source of information, complete with complete journal articles (copyright approved by author and publication) is at There is an up-to-date automatic search of clayart discussions by potters on paperclay, list of paperclay suppliers around the world etc. I do not have commercial links to maunufactors or sellers of paperclay (unlike most paperclay specialist websites). For the last ten years my principal activity is using paperclay and collecting and distributing paperclay information via workshops and classes."

Related Information


A more international view of paperclay
More information about paperclay

By Tony Hansen

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