Paper Clay

This is a short but comprehensive book that explains how to make paper clay, covers the construction techniques of using paper clay, and discusses the various additives, finishes, and firing methods associated with paper clay. The author provides a good explanation of the advantages of paper clay over traditional types of clay. The guidance is concise but more than sufficient to implement the methods and techniques covered in the book. I found the book to be well produced with clear illustrations and a serif typeface that enhanced the readability. I mostly liked the works used to illustrate what can be done in paper clay. Much of the book tends to emphasize the making of sculptural works but the information applies just as effectively to functional wares. I found the use of p'slip as a contraction for "paper clay slip" to be a bit annoying but overall was very much pleased with the well-organized presentation of useful information.

This is a useful great book about "paper clay". However, the editorial description of this book doesn't quite tell you what "paper clay" is, so here is a nuts and bolts description: Paper clay is ceramic clay (slip or dry powder+water) that has had some percentage of fiber mixed into it, which produces a product with very interesting properties. The fibers can be paper, or refractory such as ceramic fiber. Because of the intermixed fibers, the unfired clay is stronger and can be manipulated when very thin, so it facilitates new kinds of clay sculpting. Additionally, because the fiber provides a sort of scaffolding that prevents shrinkage, "paper clay" can be used in new ways that traditional clay cannot, such as adding on to or repairing already bisqued pots. There is lots more, and it is all well discussed in this book, with some mention in the editorial description. The style of the book is NOT that of a craft recipe book, it is a thorough discussion of paper clay usage and variations, firing issues, fiber sources, steps in making and using, etc. There are specific charts and tables in the appendix. The topic is definitely worth five stars to anyone who works in clay. The only reason I am giving it four stars instead of five is that I can imagine even more comprehensive coverage, especially of use of castable refractory fiber -- other than that, it is worth five stars. But it is definitely an informative and useful book, which benefits from being the successor of several previous books on the topic by the same author. NOTE: There is a commercial product called "Paper Clay" which seems to be some sort of air-dry paper mache. The paper clay in this book is entirely different, a ceramic material which requires kiln firing.