Leslie premium quality clays

LESLIE’S SPIRIT WHITE is one of Leslie’s all time most popular smooth low fire white clay bodies. It is designed especially for school children. It is easy to join pieces together with little or no added water. The clay remains moist longer while modeling, and is prone to reduced surface cracking compared with other clay brands. This clay works well with Leslie N-Series Glazes and underglazes. Fires between cone 05-1.

LESLIE’S BERKELEY SCULPTURE is a coarse low fire white sculpture body that is designed for the sculptor who builds large-scale work. The heavily grogged white clay is easy to sculpt and readily accepts Leslie low fire glazes. This clay works well for murals or tile projects, or figurative works. Fires between cone 05-1.

LESLIE’S LOW FIRE WHITE PAPER CLAY is a white low fire paper clay that is designed to fit Leslie low fire glazes. The miracle feature of paper clay is that wet clay can be attached to completely dry clay by simply scoring the dry clay, painting the join with slip, and then continuing to model with damp clay. It has excellent dry and greenware strength, and tiles warp less upon drying with this clay. Fires between cone 05-1; CAUTION! Fire in a vented kiln!

LESLIE’S LOW FIRE RED PAPER CLAY is a beautiful terra cotta color with excellent plasticity, with similar qualities to the white paper clay. It is easy to model or use as a wheel clay. Wet clay can be attached to dry clay and repairing cracks or broken pieces is easy. Fires between cone 05-1; CAUTION! Fire in a vented kiln!

LESLIE’S TOKI RED SCULPTURE is designed for the sculptor who seeks a coarse clay for medium to large-scale work. It has excellent plasticity and fires reddish at cone 05, and to a warm brown at cone 5. It is a popular clay with figurative sculptors, muralists, and individuals who require a highly textured red clay. Fires between cone 05-5.

LESLIE’S RAKU SCULPTURE CLAY is an outstanding white clay body designed so that glazes appear brighter when fired under raku conditions, compared to standard buff colored raku clays. It has outstanding shock resistance, with reduced cracking even under the harshest conditions. It has outstanding plasticity and is easy to use as a sculpting or wheel clay. It also works well in a wood, or salt fired kilns. Fires white between cone 05-5 in an electric kiln, and off-white between cone 8-10 with occasional speckling under reduction atmospheres.

LESLIE’S RED MICA CLAY glimmers in the sunlight and is designed for pit or raku firing. The shimmering (unglazed) surface appears best when low fired as low as cone 015, and no higher than cone 05. The clay has excellent plasticity and works well for use as a wheel or sculpting body, and burnishes to a soft sheen. Fires between cone 015-05.

LESLIE’S WHITE MICA CLAY glimmers in the sunlight, and is designed for pit fired burnished pottery or raku ware. The shimmering unglazed white surface appears best when low fired as low as cone 015, and no higher than cone 05. The clay has excellent physical properties for use as a wheel or sculpting body. Fires between cone 015-05.

LESLIE’S SATIN WHITE is an off-white medium high fire clay that has excellent plasticity. It is formulated with a white English porcelain grog, which helps it attain a beautiful surface color and texture. It is excellent for use as a sculpting body because of its high grog content, and also works well as a wheel clay especially for large thrown forms. Fires between cone 5-6.

LESLIE’S TOKI PORCELAIN is specially formulated for making colored clays, and is pugged especially soft so that colorants blend easily with this body. For coloring the porcelain simply add glaze stains, or oxides such as iron, chrome, cobalt, manganese, copper, etc. Leslie’s Toki Porcelain stays moist longer without cracking in comparison to other porcelains. Fires between cone 5-10.

LESLIE’S TOKI SCULPTURE BLEND is a rugged coarse buff colored clay designed for large sculptural works. It is pugged soft so that it is easy to manipulate when making massive slabs or thick coils. Fires between cone 5-10.

LESLIE’S SILKY WHITE is a creamy white medium fire clay that has excellent plasticity. It is formulated with white porcelain grog, which helps it attain a rich surface
color and texture. It is excellent for use as a wheel clay or for small to medium size sculpture. Fires between cone 5-6.

LESLIE’S MISTY WHITE is an off-white; medium textured high fire stoneware clay that has excellent plasticity for use as a wheel clay or for sculpture. When fired in reduction light speckling may appear on the surface. Fires to cone 10.

LESLIE’S PARIS WHITE PAPER CLAY is a coarse sculpture body that fires between cone 5-10 (2201–2377° F). This white stoneware clay is named after the famed French city. It has exceptional working properties making it possible to add wet clay to totally dry clay. Patching a crack or a totally dry broken part is now an easy repair. When fired to cone 10 in reduction, the clay develops a light speckling and turns to a rich creamy white. Although Paris White is designed for high fire, it works well as a low fire raku clay body. Fires between cone 05-10; CAUTION! Fire in a vented kiln.

PEARL WHITE PORCELAIN is designed for the ceramist who fires in the mid-temperature range, and seeks a smooth white porcelain. Fires between cone 5-6.

IMPERIAL WHITE PORCELAIN is a smooth high fire clay with outstanding plasticity. It is designed primarily as a wheel clay, and remains white when fired in oxidation, and eggshell color when fired to cone 10, reduction. Fires to cone 10.

BEBOP BUFF SCULPTURE is a medium textured sculpture clay designed for building small to medium size sculpture. It also works well as a throwing body, and fires light buff color in oxidation, and depending on firing conditions the color can range from a toasty orange to a brown-buff color when fired in reduction. Fires between cone 5-10.

DESERT SAND PAPER CLAY is a buff color high fire paper clay with excellent plasticity. It is enhanced with the addition of paper pulp providing the ceramist with the ability to easily repair damp or completely dry cracks. Damp clay can be added to completely dry clay affording the sculptor the opportunity to build a sculptural section, let it dry, and then continue building. Tiles and slabs have reduced warp-age upon drying, and fired ware is about 10-15% lighter in weight compared to tradition clay bodies. Fires between cone 5-10.