Paperclay is a combination of paper fibers and regular pottery clay, which can be store bought, mix from regular pottery clay or from wild clay, dug up from your garden. In the video I used egg carton. I find it breaks down easily.  
It can be mixed in ratios of 1: 3 or 1: 2 or 1:1, depending what the purpose of the clay may be. For children's projects I prefer a 1:1 ratio since it makes it easier to bond clay without making too much mistakes. For wheel throwing less paper is desired. 
It is much easier to fix broken objects made by children. It is also a perfect opportunity for them to learn some problem-solving skills when they get to fix their own mistakes. 
Below are images of children working in various settings with paper clay. 
It is the perfect activity for arts integration in the classroom. ​

1. Refining small and large motor skills by playing
2. Children learn problem solving skills without knowing they are fixing issues. By doing so it become second nature for them without the pressure of failure. 
3. Their decision making skills develop. 
3. Flexibility is a virtue any person needs in their life. By making small decision on where and how to to attach an arm on a doll or a snout on an animal sculpture, children learn not only to be flexible but also to analyze. 
4. Children that can express themselves in any way are happier children. 
5. By playing their way through personal issues they build confidence, get rid of stress and feel in control of something. ​

There are much more to say about the value of letting children do art, especially working with clay. The most important fact is that children get a chance to see 3-dimentionally, something that is becoming more important in a world where flat computer and TV screens rule the day.  ​

In this video I am talking about the understanding of the characteristics of porcelain. In order to trim porcelain clay successfully, you need to know which are the different stages that the clay goes through. The Diva tends to look dry when it is in fact leather hard. The clay only begins to dry when there is a coloration, making the clay look like drying bones. 
When I refer to porcelain stages, I first do that by pinching clay. Pinching is going to allow you to really understand the Diva. 
Another way to describe the clay is with comparing it to cheese. … First really soft mozzarella cheese, then soft gouda, then cheddar and finally parmesan. I am sure there are other cheese descriptions in-between, but never compare porcelain to cream cheese, unless you talk about a real almost slip-like clay, which is way too soft to throw with. 
​If you are interested in learning form me please see my workshop page . There are many different ways to learn from me and if you do not find what you need, send me an email and let me know if you would like to be a host for a hands-on workshop, or if I can help you in any other way. ​

​The use of paper fibers to strengthen clay is nothing new in the ceramics industry. 
In the middle of the 20th century potters began to explore paper fibers in their clay, a concept that they borrowed from the building industry. Learn the value of porcelain paperclay. ​

The porcelain sculpture below is made from a combination of regular porcelain and paper porcelain. Paper porcelain helps  to obtain a lighter base.  ​

Depending on the amount of paper used, fibers will act like paper mâché and give dry strength to porcelain. It makes it easy to work with, but bear in mind that although it will be strong in the making, it will be harder to smooth out and if you would like to carve it, you may need alternative methods to do that, since tools will pull the paper out.  
 
As the paper burns out in the first firing, the bisque strength will also be lesser than regular porcelain. Porcelain is in any way by itself, weaker than stoneware clay after the bisque firing, so it needs careful handling. I have many foam “cushions” in my studio.
 
To mix paper porcelain
Mix up a thick slip that will “blob” off a spoon.  The paper can be any clean paper, but toilet paper or paper mâché (100% paper) is best to use.  The smoother consistency needed; more clay slip can be added. Use an electric mixer if possible to get the best blend. 
 
There is no perfect recipe, so when you test it, mix up a small amount. Try using 1/3 slip clay, with 2/3 paper for a very coarse clay. This mixture will most possibly leave holes in the bisque. ½ and ½ clay-paper ratio will be smoother, but still very coarse. 1/3 paper and 2/3 clay is a good starting point for a more traditional porcelain appearance.  
Make small tests, so that if you do not like to work with it, you would not have wasted your precious porcelain clay. Write your findings down. Whether you use it directly or build on that knowledge at a later stage, your notes will always be valuable. 
 

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Additives to paper porcelain clay. 
Since you will add an organic material to your porcelain that will begin to rot in the wet clay, potters are looking for ways to preserve it. In my opinion there is no perfect way to keep it wet for long periods of time. It will definitely loose its power as the fiber begins to break down in the rotting process.
Some potters add disinfectants like Dettol, tea tee oil, bleach, or dishwashing soap to their clay. Others preserve the clay in the refrigerator. All these methods will prevent the rotting smell, but it will not prevent the fibers from breaking down.
 
The best thing to do is to mix just enough clay at a time for the project you have going. It is easy to make porcelain into a slip and it is easy to make paper pulp. Therefor it is possible to mix your paper porcelain in a very small amount of time and if you dry it out on a plaster bat, you can have it ready within an hour or two after you started making it. Keep small dry porcelain chunks handy to slake quickly and the process is as simple as making grits for breakfast!

How to preserve your excess paper porcelain.
I dry my unused paper porcelain out in slabs to prevent it from forming mold and when I am ready to use it, it is easy and quickly to re-wet. You can simply wet a towel and drape it over a slab of paper porcelain. In half an hour it should be ready to wedge and use. If you need it in a slip, just add some water to it. See the pottery video above. 
Commercial paper porcelain
I am not aware of a commercial paperclay in the USA. There is one in Europe with which I worked before. It is available at Lehmhuus AG and Zsuzsa Füzesi builds beautiful, large porcelain sculptures with it. If you discover one, please let me know so that I can share the info with other porcelain potters. In the Porcelain handbuilding with Antoinette Badenhorst, I teach potters in one of the videos how to mix their own porcelain paper clay.
Just remember, even if you do buy a commercial paper porcelain,  it is still just paper fibers and clay, unconditionally of what is added to commercialize it. They may be able to sell a perfect batch, but experience have taught me it do not last much longer than my own mixture. ​

When I was teaching a class at Lehmhuus AG in 2016, we were invited by Zsuzsa Füzesi for a very delightful evening of ceramic and cultural discussions. At the time she was working on the paperclay sculpture below. Zsuzsa expertly design her porcelain sculptures to withstand the demands in the kiln. ​

Learn more about porcelain in my porcelain online workshop or attend one of my hands-on porcelain workshops

Tags: 
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Many times we end up with glazes in the studio that we do not necessarily like. Instead of throwing those glazes away, you can use them to decorate surfaces of your pots. You can simply overlap these glazes with a glaze that you know well and like. In this video I took some test glazes and put them on top of a proven glaze, but you can also reverse and place the test glaze first and then the glaze that you like. The effects will be different. 

Anja is a ceramic artist from Slovenia who arranged for Antoinette to present a 5-day hands-on workshop in the city of Kamnik. She interviewed Antoinette during her stay in the lovely hills of the Swiss Alps. ​

Antoinette started with a career in clay in 1981. She originally worked with pit fired work and later specialized in translucent porcelain. 
Her career takes her to different areas in the world where she teaches other potters about porcelain. See more about her career development 
​Antoinette presents hands-on as well as online workshops across the world.   ​

There are a few things that will help with the success of throwing porcelain on the potter’s wheel. The clay must be soft enough for easy manipulation and well centered.  Remember clay does not always need water when it feels hard; sometimes it is just thixotropic and needs to "wake up". The potter must feel comfortable behind the wheel, so make sure that everything works well and that you are relaxed.

What did you do before bats were invented to put on the potters wheel?  Then how did you secure the bat on the wheel head before someone discovered that 2 holes on the wheel head that can hold a nut and a bolt in which you can click a wheel bat with corresponding holes in it? 
​
In this video I am showing you how to create a clay pad that you can use repetitively to secure a bat on. 
Tips:

1. You can re use the bat for days on end. Keep it soft leather hard. 
2. Create rings on it so that the air between the rings "suck" the bat tight into place. Make sure the rings are level. 
3. Cut lines from the center to the outer rim to allow you to be able to release the bat without having to destroy it. 
4. Use the rings to guide you to center the bat.
5. Do not press down on the bat before you have it centered. 
6. Do not press all over the bat; that will only let the bat go off level. A light tap in the center is enough to let it sit tight. 
7. Use a sturdy tool and leverage to release the bat. 

​​Click here to see Antoinette's porcelain e-courses ​ or go to her workshop page

Marie was one of the most talented artists that I ever knew. She had the ability to use anything to create and decorate with. Her vision to take an idea and transform it into a story with clay and other found objects was extraordinary. She created multiple ceramic sculptures, often starting out from one specific element which she build out in several different narratives. 
Marie past away in 2019 and we miss her new inspirations tremendously, but I am very fortunate that I could talk to her in front of the camera, so her voice, her teaching and great example lives in. 
The last time that Marie and I were sitting on a porch, discussing her online workshop over a glass of wine, Marie expressed the wish she can reach students far and wide, therefor I am happy to to confirm that the online workshop will Post-fired Finishes continue to be available for students. ​

I visited with Marie in her studio and was  excited and happy for the opportunity to feature Marie Gibbons Evans.  . Marie is recognized for her extraordinary ability to transform everyday craft materials—similar to those found in common hobby stores—into meaningful works of fine art. By combining clay with painterly techniques and mixed media, she elevates craft into expressive artistic storytelling, and the conversation invites her to share how she developed this unique approach.

I asked her how she started with her current techniques: 
She began her journey in clay working with raku firing, drawn to its unpredictability, dramatic fire process, and especially the rich carbon trapping effects. However, she became frustrated with the limited color palette and the lack of control over surface results. Seeking greater creative freedom, she explored ways to introduce more color while preserving the carbon-trapped appearance she loved.
By experimenting with acrylic paints and combining them with her ceramic surfaces, Marie developed her signature technique known as post-fired finishing. She first applied black paint and wiped it back so it remained in the crevices, simulating the carbon trapping of raku. She then layered thin applications of acrylic color on top, allowing her to achieve vibrant, controlled surfaces while maintaining the depth and character of raku effects.

She went on to explain that her post-fired finishing technique is intended for non-functional, purely decorative ceramic work, not for pieces that hold food or water. This method offers greater artistic control, allowing her to apply and adjust colors gradually rather than relying on unpredictable kiln results.
Over the past 20 years, she has come to value the intimacy this process creates between herself and her work. Because the coloring happens entirely by hand after firing, she remains physically connected to each piece, holding it, observing it from all angles, and making adjustments as needed. By layering thin acrylic paints directly onto the surface rather than mixing colors on a palette, she builds depth and richness gradually. This approach allows flexibility—if she is not satisfied with an area, she can continue refining it, knowing the piece is not ruined but simply still in progress.
Antoinette asked Marie  to clarify what she meant by “non-functional” work. She emphasized that while the pieces are not utilitarian and cannot be used for eating or holding food, they still serve an important function. Antoinette invited Marie to explain the deeper purpose of her work, particularly the theatrical qualities she observed, and asked her to describe how storytelling and theater relate to the true function and meaning of her ceramic sculptures.

She answered that she appreciates the broader meaning of the word “function,” noting that while her work is not utilitarian like dinnerware, sculpture and art still serve an important purpose in human life. For her, the function of art is to help process experiences, emotions, and observations drawn from everyday encounters and personal interactions. She described her work as theatrical because it expresses and performs these human stories, allowing both herself and the viewer to reflect, laugh, or feel deeply.Marie also discussed her “Pin Heads” sculptures, which incorporate vintage hat pins and handmade elements to enhance their narrative quality. She often uses commercial molds but intentionally alters them, leaving seams, sprues, and imperfections visible. By doing this, she challenges the expectation of perfection in molded forms and emphasizes the handmade character, individuality, and expressive presence of each piece.

Marie  went on to described one of her favorite sculptures, which she calls her “Zen Baby,” as calm, self-aware, and meditative. Although she uses the same mold repeatedly, she individually refines and alters each face so every piece develops its own personality, appearing related but never identical.
She explained that her “Pin Heads” series was inspired by periods of intense multitasking and mental overload. The pins symbolize the small mental reminders, emotional nudges, and responsibilities that occupy the mind—ranging from daily tasks to deeper emotional experiences. Beyond the literal appearance, the pins also reflect broader themes about life, memory, emotional awareness, and the influences that shape people over time. Through these theatrical and symbolic elements, her work invites viewers to reflect on personal stories, societal influences, and human experience.
​

Marie Gibbons Evans explained that she believes art is most meaningful when it can be interpreted in many different ways, allowing viewers to connect their own personal stories and experiences to the work. She intentionally incorporates found objects, especially vintage hat pins, because they carry history, wear, and character that enrich the narrative of each piece.
While preparing for a solo exhibition, she spent months searching antique stores, online marketplaces, and antique malls to find authentic vintage pins rather than reproductions, because only original objects could provide the sense of history she wanted. She valued the imperfections—rust, chips, and age—as part of their story. Over time, her community and collectors also contributed by sharing and donating vintage pins, adding another layer of connection and shared meaning to her work.

Tags:
post firing techniques ceramics, ceramic surface decoration, cold finishes ceramics, mixed media ceramics, found objects in ceramics, ceramic sculpture techniques, ceramic finishing methods, alternative ceramic surfaces, honoring ceramic artist, ceramic artist tribute, ceramic artist inspiration, ceramic teaching legacy, women in ceramics, ceramic art , art history, contemporary art,

Knowing Curt Benzle has been a blessing in many ways. Not only is his work inspirational in nature, but as a person, his insight into the art business is encouraging. 
As a college professor, he realized that students need more than art education to become successful. Therefore, over a period of 20 years, he developed a course to help get students knowledge of how to be successful in the art of business. All Artists Making A Living (AAMAL) is now available as a 10-week online class at TeachinArt.
Listen to the stories from his days as a young artist, finding his way with porcelain, becoming an artist, and seeing his work in the library of the Whitehouse. ​

Reader comment 
​What a heartfelt and inspiring interview! Susie Bowman’s dedication to showcasing such incredible talent at The Kiln Studio really shines through. Reading about the workshops and artists she brought together reminds me of a pottery class I took years ago—those creative spaces truly bring people together. Thank you, Antoinette, for capturing and preserving such a special chapter in the ceramics world!