Working with porcelain in the studio presents a handful of challenges — especially if you work with other clays as well in the same small space, like I do! I have to thoroughly clean my wheel and workspace when moving from my red stoneware to pure, pristine porcelain. In fact, some would say trying to work with both a red stoneware and porcelain in the same space is ridiculous because of the likelihood of contaminating the porcelain.
But I accidentally found a GREAT solution while at Lowe’s looking for a wooden board to lay across my table that I could use only when working with porcelain. I found this instead:
And it works amazingly well! It’s a laminated kitchen counter segment, and it fits perfectly on top of my 6′ folding table that I use as a workspace. When I am ready to go back to red stoneware, I will box up all these porcelain tools and store the counter against the wall. I have duplicate tools for red stoneware, so there is no cross-contamination. I love discovering simple solutions!
It seems that many potters I come across have developed their work around one specific clay body. I’m not sure this approach is for me!! I am just so drawn to different types of clays and what can be achieved with each.
I heard great another podcast by potter Ben Carter, this one featuring Sandi Pierantozzi and Neil Patterson (Podcast No. 86), and Sandi expressed for herself the way I feel about clay and ceramic expression: she defined herself as an “explorer.” This is a paraphrase of what she said: there are just so many things to try! As long as she feels engaged in the process, she has learned to be okay with not settling on just one thing.
It was helpful to hear such a successful and truly gifted potter express what I had been feeling … validation can be encouraging when one is venturing out into the unknown!
I love working in several different types of clay bodies. I adore the friendly and pliable Cinco Rojo red stoneware clay. BUT, I also am completely enthralled with gorgeous porcelain and its stunning translucency and purity. This approach, however, does present some practical problems!! Switching over from red clay to porcelain requires a heavy-duty studio cleaning. I think of it like a manufacturing “switch-over” — everything has to cleaned and “sanitized” so that the porcelain environment isn’t contaminated by one speck of red clay.
But the switch-over has to include the table workspace as well as the wheel. While at Lowe’s looking for a new board of some kind to lay across my work table, I found this kitchen counter segment (below), which works perfectly as a secure porcelain workspace. When I am ready to go back to red clay, I’ll simply move the countertop, and box up all my porcelain tools, keeping everything clean and un-contaminated. Switching out the entire workspace, and keeping two sets of tools will prevent frustration down the line. Though a bit cumbersome, it’s a great solution for my tiny studio space.
This picture shows the comparison of the same pot — unfired Cinco Rojo clay dipped in porcelain slip, and then glazed with a clear glaze and fired at cone 6 (which is 2269 degrees F). There is quite a difference in the color of the clay from unfired to fired–rich, deep red to a chocolate brown. The clear glaze actually seems to accentuate the speckling in the stoneware.
Next time I fire this clay, I think I will take it only up to cone 5 (which is 2205 degrees F — a difference of only 64 degrees.) BigCeramicStore.com has this very useful chart that shows the correlation of temperature to cone number, and also which type of clay “matures” at what temperature. According to this chart, firing this red clay that additional 64 degrees took it beyond its melting point, which could account for the change in color. Not that it isn’t lovely as a chocolate speckled stoneware. It’s just not what I wanted to see.
It’s not very glamorous, but I am very thankful for my 1/4th of the garage, all my own, which I call my studio. Small, yes, but it has everything I need: work space, wheel, kiln. I look forward to the day I have a larger room and windows, but for now, we just throw open the garage door, turn on the heater (or sometimes the kiln, depending on how cold it is!) and get to work.
Angus also has part of the garage for his motorcycle transformations and furniture building. This is where we spend our weekends and evenings after work!
Armadillo Cinco Rojo, dipped in Laguna Frost Porcelain; here ready to fire. I love working with Cinco Rojo–it is friendly and easy, and is a beautiful color while in the making stages. I am anxious to see how it turns out after the firing! I am also learning to work with porcelain, and am curious to see how my experiment of combining the two turns out.
The porcelain slip used here has been collected from my throwing water and then blended with a hand mixer. I dipped the pieces into the slip, and wiped off the bottoms. Into the kiln they go, fired to cone 06 for bisque.