Paper clay (sometimes referred to as fiberclay) is any clay body to which processed cellulose fiber (paper being the most common) has been added.[1] Clays bodies that have been used as the base to make paper clay include those formulated to produce earthenware, terra cotta, stoneware, porcelain and bone china.
Firing temperatures for paper clay are exactly the same as the clay body from which the paper clay was made. Some recommend slightly higher firing temperatures. Because the paper clay is porous and strong when dry,[2] single glaze firing is possible, offering firing and time savings.
There is no physical difference between soft clay and the same clay as a soft paper clay, except the small fibers. Building techniques used with soft paper clay are similar to conventional clay. Dry paper clay is stronger than the same clay without the fiber, enabling thinner, more delicate works.
The inclusion of processed cellulose fiber in the clay enables new ceramic techniques. Joining dry-to-dry paper clay and dry-to-soft paper clay are the most radical new techniques. A new aesthetic has also emerged from combining paper and clay art traditions.[3]
The firing process for paper clay is the same as ordinary clay. Paper clay is mainly composed of clay and behaves the same when fired; it should be fired at the temperature of the base clay. The piece still needs to be completely dry before firing so it doesn’t explode. Also it is very absorbent before its first firing so it can even be glazed in the first firing. The fibers allow the glaze to be absorbed and evenly applied as greenware so it can be finished in one firing, which is good for energy bills and time constraints. But it does not harm the clay if it is bisque fired. The glaze rules are the same as for what the base clay is, the paper is a good bonus but it doesn’t change the chemical composition of the clay in terms of glazing. Paper clay can be used in all the same building methods as regular clay. With the right ratio of clay to paper it can even be thrown on the wheel. The consistency is different because of the fiber but it works the same. But using paper clay, the piece can be completely dried before the handles are attached so there is little risk of damaging it. Also cracks, especially on the bottom of the thrown piece can be repaired instead of having to start over. The paper mixed in reduces the amount that clay shrinks allowing it to be built around hard objects, like metal frames, with minimal cracks as it dries. Artists were limited before with the properties of regular clay and it was hard to build around armatures but now they can use them with the paperclay without worry. Although it is not as necessary because the paper clay is so much stronger in its green state compared to just clay but the option is now more successful. Pinch pots and other hand building techniques remain the same except there are more possibilities to build higher and in more directions because there are fewer restraints because of the clay’s weight. This allows the ceramist to be more expressive and creative with their works and will hopefully encourage new ideas. Coil building is easier with paperclay because the coils don’t have to be smushed together, instead it can be built, dried then paperslip applied where the coils meet for added support. Like conventional clay, this clay can be carved. It can be either chiseled when it is dry or carved when it is wet. Both methods are very forgiving even after it is fired, it can still be added to.[4]