paul gerhold on tue 29 nov 11
After considerable experimentation I have come to the conclusion that the
best way to produce large (20 inch square) thin ( under half inch) slabs is
with paper clay made out of what is essentially sculpture clay. Next
project is joining slabs working toward fairly good size and moderate
weight sculpture.
Anyone have experience with the best approach to joining paper clay? Is
slip with paper better than slip without paper or is spooze or something
similar preferred? Is it better to score or not to score. Any assistance
that will reduce my number of experiments will be appreciated.
Paul
David Woof on wed 30 nov 11
Hi Paul=3D2C
Glad to see you experimenting!!!
The interlocking paper fibers in the clay essentially serve as a type of "s=
=3D
coring" and with enough=3D20
mashing=3D2C twisting and agitation the pieces will bond as long as there i=
s =3D
"adequate!!" moisture=3D20
present in one or both parts to be joined. Paper Clay is reputed to bond we=
=3D
t to dry=3D2C and dry to dry=3D20
with application of a spoose paste and this I find successful. As clays dif=
=3D
fer in response and=3D20
character I buy insurance by "if in doubt" use scoring and slipping on all =
=3D
clay bodies and=3D20
paper clay constructions.
I know there are folks who say that they never score or slip and claim succ=
=3D
ess.=3D20
But most don't inform the new and uninitiated to the understanding of their=
=3D
=3D20
particular working style=3D2C the physical mechanics of their standard reli=
ab=3D
le clay
body and perhaps unconscious techniques they have stumbled upon but can't/d=
=3D
on't explain.=3D20
Being able to verbalize our techniques in various ways to match others lear=
=3D
ning styles=3D20
is the gift and the art of the effective teachers among us.
Play safe while you learn=3D2C but push sometimes to some risk because out =
th=3D
ere on the always crumbling=3D20
razor edge of accumulated knowledge is where we learn or discover new ideas=
=3D
and invent=3D20
techniques to best serve our individual needs and working style.
The last word will never be said or written about anything.
___________________
=3DA0
Quick Spooze: Dissolve T-Paper in vinegar until you have a loose slop=3D2C
(I don't bother with the sugar or syrup addition)
then guestimate about 20% wollastonite and add dry flakes of your chosen=3D=
20
clay body until you have a thick slip paste.=3D20
Wet the dry paper clay area to be joined slightly=3D20
with vinegar=3D2C score=3D2C apply spoose=3D2C press pieces together with a=
twist=3D
ing motion. Paint joined=3D20
areas and a bit of the surround with wax resist=3D2C cover and dry as your =
ne=3D
eds and experience direct.
___________________
Waxing exposed edges=3D2C inward about 2 inches=3D2C retards the drying and=
kee=3D
ps the edge borders=3D20
flexible so they can better accomodate and adjust to the stresses as the ce=
=3D
nter=3D20
interior drys first.=3D20
Google Wollastonite to learn why I would put that material in the Spooze=3D=
20
for several very good reasons.
David Woof.......
_____________________________________
2. Paper Clay Joining
Posted by: "paul gerhold" gerholdclay@DISHMAIL.NET=3D20
Date: Tue Nov 29=3D2C 2011 2:12 pm ((PST))
=3D20
After considerable experimentation I have come to the conclusion that the
best way to produce large (20 inch square) thin ( under half inch) slabs is
with paper clay made out of what is essentially sculpture clay. Next
project is joining slabs working toward fairly good size and moderate
weight sculpture.
=3D20
Anyone have experience with the best approach to joining paper clay? Is
slip with paper better than slip without paper or is spooze or something
similar preferred? Is it better to score or not to score. Any assistance
that will reduce my number of experiments will be appreciated.
=3D20
Paul
=3D20
=3D
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