I begin by drafting precise paper patterns of the design. Then, wearing leather gloves, I follow the patterns to cut 1/2-inch hardware cloth (steel mesh cloth that can be found at most hardware or home improvement stores) with tin snips. After the seams are joined with wire, many layers of paper-clay slip are poured or brushed onto the hardware cloth armature. Each coat of slip must dry completely before the next can be added. This process can take many days.
Each new coat of paper clay sticks to the previous bone-dry layer; when the fibers burn out in the bisque, there is sufficient clay remaining to support the form. Insufficient clay can be a problem when working with paper clay; it is possible to end up with so little clay that the piece just falls apart.
This article was excerpted from Ceramic Sculpture: Innovative Techniques, available in the .
Once the wire is covered with paper clay, the surface can be coated/decorated with slip or underglazes. Because of the firing range of the steel wire, I am limited to coloring techniques that do not go above about 1800°F. For most of my sculpture, I use terra sigillata as a source of color and sheen.
To further define and mottle the surfaces, I smoke the bisqued pieces with newspaper in an open washtub. This is often followed with a lightly buffed paste wax or shoe polish. If the piece is to be exposed to weather, I protect it from absorbing water by applying a masonry sealer (available at most hardware stores). Other low-fire techniques, such as raku or low-fired glazes, are also possible when working with paper clay and steel.
New materials often demand new techniques and lead to new solutions to old design problems. Using paper clay in combination with hardware cloth has opened up a whole new area of design for me. I am now using the process to fabricate metaphorical vessels and abstract figures.