©2006 P'Clay® and P'Slip® / US Patent Number 5,726,111. Artists have granted rights to mix paperclays as taught for works of art. Because there are variables beyond my control (selections clays, papers, water, mixing errors and etc) always test samples and use at your own risk.
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15
experiments
1. a slip cast in casting p'slip duck is seamlessly "attached" with p'slip and p'clay to a slab built set of legs in sculptors p'clay at bone dry. A smear of ultra thick p'slip is like a wave of "water" that dried intact over the bone dry platform.
To the right below a right a smaller terra cotta with majoilca glaze passed the " firing test" in kiln at Pottery Northwest in Seattle, with out deforming in fire.
Above Right: These sort of bigger hollow forms are really dicey to fire because of hot spots in the kiln. It's easy to overfire them and then they warp or slump a bit. Double thick walls than these are better.
I tried extreme shapes with porcelain at Bechyne in the Czech Republic where overfiring is the rule not the exception. The clay emerged from the kiln caught in mid-droop as below and to the right: "Twisted" to the left and "Old Flames" to the right. From all this I gained understanding of how big clay "moves" independently in the kiln and how to control it which is explained in more detail in my newer books.
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