Creating Unique Surfaces with Flakes of Colored Paper Slip Stephen Biggerstaff

Preparing the Slip

I begin by preparing slip from mid-range porcelain clay that has been dried out and then slaked with water, vinegar, and bathroom tissue. Once the slip reaches the consistency of yogurt, portion it out and add Mason stains to create a palette of several colors for the bowls. Typically, I select six colors, evenly divided between cool and warm hues.

Next, paint the slips onto newsprint and leave to dry (1). The slip should obscure the copy that is on the newsprint, but should not be thicker than ¹/₁₆ inch (1.6 mm). I make and store multiple dried sheets until I am ready to create a fresh colored slab (2). Tip: Store the dried sheets of slip in a shallow plastic bin to keep them dry and contain any flaking of the newsprint. 

Layering and Compressing the Slab 

Carefully pull small pieces of dried slip from the newsprint sheets and layer the bits onto a freshly rolled slab of clay, about ¼ inch (6.4 mm) thick (3). I alternate warm and cool hues for depth and contrast. Add more pieces until the surface is fully covered. Note: Because I’m handling dried slips, I wear a mask or work outdoors during this step. 

Once you have enough small pieces, lightly spritz the slab with water (4), cover it with a clean, dry cotton towel, and gently roll over it with a pony roller to attach the slips to the clay (5). 

Next, flip the slab over and repeat layering the dried slip bits on the opposite side. Once both sides have been layered, wrap the slab in a towel, cover it with plastic, and let it rest overnight for the moisture to equilibrate. If I cannot return to the slab in a day or two, I unwrap it to check that it remains pliable but not wet. After resting, uncover the slab and inspect it for even moisture. Then, roll over both sides of the cloth-covered slab to ensure the colored slips are fully incorporated. I continue rolling and flipping the slab until it is ⅛ inch (3.2 mm) thick (6), checking that the pattern and texture are consistent on both sides (7). 

Cutting and Applying Strips 

The slab is now ready to be cut into strips, typically into ¾ to 1 inch (1.9 to 2.5 cm) wide (8). 

Now, apply the first strip to the rim edge of a hump bisque mold, scoring and brushing vinegar where the ends meet and join (9). This initial strip stabilizes the mold on the turntable. Each subsequent strip is overlapped by ¼ inch (6.4 mm) above the prior strip, then scored, and lightly brushed with vinegar before being compressed against the previous strip using a roller (10). Working from the base to the top of the mold, I gradually build up the form, finishing with a final circle at the top of the mold (11). A gentle pass with a pony roller smooths the surface and ensures uniform attachment (12). Rest the form on the mold for about 45 minutes to one hour. 

Stephen Biggerstaff creates in his home studio in Charleston County, South Carolina. His work can be viewed on Instagram @stepbigg_clay, and is currently available at Plough Gallery in Tifton, Georgia. He will be teaching this technique at Arrowmont School of Arts and Crafts in October 2026.