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TortoiseAvenger

Cone 6 Stoneware Vs Cone 6 Porcelain?

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I'm attracted to the whiteness and translucency and supposed strength of porcelain. Will I get this at cone 6 if I use a porcelain clay designed for it?

 

I've been using cone 6 cream colored stoneware. Any ideas on what differences I'll notice working with it, firing it, and finishing it? I've heard porcelain is less forgiving...

 

How do I clean the stoneware clay off my canvas table? So far, I've only used it for off white clays... Nothing like terra cotta, so I wouldn't think if be THAT much of an issue...

 

Your thoughts?

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I have one cone 12 ish porcelain piece. I'm starting to understand the allure of high fired porcelain. My first observation is how solid it is. And it has been stated before a body with a range of temps, will be more vitrified at higher temp. And slightly open at lower temp. Like highwater helios. It's rated cone 7 to 11.

 

I'm in the process of testing a true cone 6 porcelain I'll post results when it's finished. (Currently drying from slurry stage)

 

Porcelain is different from stone ware. Some love it some hate it..... I'm not a hater. It can be finicky and temperamental. But I feel that porcelain more easily goes from image in head to finished product. I feel like I command it. And it does my. Bidding. It make take few bags before you get the difference between white stone ware and porcelain. What's worse is different porcelains epk vs grolleg have different working characteristics. The porcelain road is one that only you must travel.

 

Re canvas table. If you want white don't use table as is. I have my own piece of canvas that I a-clamp to wedging table when I wedge the white stuff.

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I have used Standard Clay 365 a grolleg porcelain formulated to fire at Cone 6.  To get translucency the clay has to be pretty thin.  For translucency you will need the porcelain to specifically say it can be translucent, as there are versions using domestic kaolin that will not be translucent. There are quite a number of choices available.

 

I used the 365 for objects made on the wheel, so I can't address if it hand builds well.  I found it worked well for me on the wheel.  It does help to get all the height you want before starting to expand a form.  While drying, I kept it covered in plastic until it evened out and had dried pretty well.  It tends to firm up better than stoneware, as it nature seems to be thixotropic.  To get it thin, I find it best to let it get leatherhard and trim normally, then fine tune and get thinner yet with the stainless steel rib.

 

Handles and such additions are more problematic with porcelain than with stoneware in my experience.  Cracking of joins being the main issue.  I find that making a paperslip type joining slip to help with that:

 

Martha Grover joining slip

http://ceramicartsdaily.org/ceramic-supplies/pottery-clay/superior-slip-how-to-make-a-paper-joining-slip-to-help-attachments-stay-put/

 

I have also used Laguna WC-616 (Miller #15), and Coleman Porcelain (Cone 10 for translucency), and found similar throwing characteristics.  I have recently had some L178 NZ 6 - MID-RANGE PORCELAIN CONE 4-6 shipped from Clay Art Center in Tacoma, WA. It is supposed to be very translucent, similar to Southern Ice in translucency.  We shall see...

 

Enjoy the journey; trying new things can be fun!

 

John

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I use Standard 365 for everything, from small 3/4 pound cups to 45 pound planters. It throws great and is pretty forgiving for a porcelain. Yes, it must be quite thin to go translucent. The thicker a porcelain can be and still go translucent, the more prone it is to issues like slumping, warping and cracking.

 

I have seen translucent porcelain that uses EPK, a domestic kaolin. English Grolleg is not a necessity. It's more about formula and glassiness.

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