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Callie Beller Diesel

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About Callie Beller Diesel

  • Rank
    Advanced Member
  • Birthday 11/14/1976

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  • Website URL
    http://www.dieselclay.weebly.com

Profile Information

  • Gender
    Female
  • Location
    Calgary, Alberta, Canada
  • Interests
    Soda fire, all things reduction, and a little bit of glass.

Recent Profile Visitors

9,934 profile views
  1. NPR has an Internet feed, if your cable internet has better mojo than the radio waves. Alberta also has a public station that has an Internet feed, and it's pretty interesting. Even if you don't like what's on, it'll be something you might not have heard before. It's usually pretty good studio listening. http://www.ckua.com/programs/ckua-live/
  2. Copied Images

    If I was a vendor at that market I’d be livid if they weren’t using the actual vendors for marketing. And I wouldn’t be a vendor with them for very long.
  3. Hour long playlists on my Bluetooth headphones remind me to get up and take a break once they finish. Gin Wigmore is a current favourite, as is Larkin Poe. Mostly mixes, though. I do a lot of audio books lately through my library app. Those are used during times when I'm doing more mindless tasks, like wedging, reclaim, throwing and cleaning. Ilona Andrews' Kate Daniels series is a fun mix of fantasy and technology, and the characters are hilarious! Karen Marie Moning's Fever series are set in Dublin, and are reminiscent of the old Faerie tales that were bloody and frightening, and never meant for children. Many ADHD brains need background/white noise in order to concentrate.
  4. Graphite drawing on clay

    @Tomás If you want an indication of what kind of fine lines you can get from an underglaze pencil, check out an artist named Tom Kemp. He comes at ceramics from a painting/drawing background as well. I can vouch that underglaze pencils do behave like charcoal. They're not quite as fine as graphite, but you can indeed shade with them. Here's a link from his Instagram to a short video of him working. I believe he uses draftsman's methods to keep his pencil sharp. (Eg, a sharp knife and sandpaper)
  5. Glaze shivering with Penn State Shino and Rod's Bod Clay

    I'm going to venture that it is likely a glaze batch problem. Leaving 10% of your clay out is definitely going to affect the recipe, because you're missing a statistically significant percentage of your silica and alumina. Even without looking at glaze calc software, that leaves the recipe really oversupplied with all kinds of sodium flux, which would be exacerbated by adding yet more sodium of any kind when you sprayed. Sodium has a high coe, so the resulting shivering is logical.
  6. Surface Crack In Red Clay ( Terracotta)

    Hi and welcome to the forum! Judging from that first shot especially, you're leaving entirely too much water in the bowls while you're throwing them, and the clay looks overworked or too wet. It looks like your clay has a low tolerance for water in the bottom while you throw, and you need to clear it out more. The second picture looks like not enough compression on the bottom, and perhaps leaving a skim of water on the inside. In the third picture, did you leave a film of throwing slip on the inside of that bowl or line it with a layer of Terra sig? It looks like there's some kind of layer of fine clay particles on the surface, but it's not something I can gauge properly from a photo. Do those cracks go all the way through the pot, or are they just on the surface? The fourth image I can see the cracks are structural. It makes me wonder about how damp your pots are when they go in the kiln, and how fast your bisque is. Do you control your own firings, or is someone else doing it for you? Do you live in a humid area? Also, what kind of clay are you using? You mention terra cotta, but which brand or recipe is it? Do you throw with a rib at all?
  7. Mariko Paterson recommends that if you have a lot of decals to apply, instead of soaking them in a bowl of water and just having them all floating there, get them wet first in a bowl of water, but keep them on a wet piece of foam so they don't all separate from the backings, and stick to each other.
  8. QotW: Where?

    Here’s my little basement hideout. There’s a small closet behind the wheel that holds most of my bulk glaze materials, and the glaze buckets are stacked behind the door. This is the current state of my studio, and it’s the tail end of glaze day. My kiln is in a shed in the back yard, and I do a lot of stairs on the days I load and unload kilns.
  9. Choosing Glazes

    Soaking stoneware in a soloution trying to get to 100% vitrification, and succeeding in producing a bunch of bloated pots. Back to the 'ol drawing board.
  10. Choosing Glazes

    I tend to start out with some kind of problem I want to solve (crazing, a crystal clear glaze, curiosity about exactly how much soda ash does fume in an electric kiln), or a specific surface or colour that I'm after. Because some glaze recipes really don't travel well, or even transfer onto different clay bodies well, I tend to start with a base glaze and alter from there. I'm lucky in that Tony Hanson is making all the Digitalfire recipes on Plainsman clays, and that saves me some work in terms of finding a base that is a good starting point.
  11. Problem: Plate rims rise while drying

    The crime scene tape is both funny and disturbing! I tend to throw plates pretty thick initially. I find if I flip my plates as soon as they will bear it, the added weight counteracts the tendency for plates to cup in like that. It happens with bowls, and lids that are thrown upside down off the hump, too.
  12. Deflocculate Or Add Water?

    Adding bentonite is only effective in glazes that are very low in clay. In order to stay suspended in the bucket, glazes need the variable particle sizes that are found in less processed materials, like clays. If, for instance, you have a glaze that is particularly high in frit (a dense, more processed material with pretty uniform particle size) and doesn't have a lot of clay, because hey, you got all your alumina from your frit, the glaze will fire up pretty uniformly but settle out hard at the bottom of the bucket. Adding bentonite, which swells considerably when it's wet, allows you to introduce some different sized particles that will help keep your glaze suspended without altering the chemistry of your glaze noticeably. In practice, this works a lot better if you also use your flocculants (epsom salts, vinegar) along with adding bentonite. If your glaze already has more than 10-15% clay, adding bentonite is unnecessary for flocculation purposes because the variably sized particles are already present, and just adding epsom salt soloution or vinegar should suspend things nicely.
  13. cracking bottoms in the kiln

    Is it something as simple as housekeeping? In those last 2 pictures especially, it looks like there's residue of glaze (or other things?) which is definitely going to cause your pots to stick to the shelf. Are your pots perhaps picking something up from a dirty ware board? Even if you're using wax, you still have to wipe glaze residue off with a clean sponge, using clean water. It pays to be really immaculate about feet.
  14. Crazy requests

    I've had requests to re make lids, copy other pieces, or even things from another artist. But I think the toilet piece wins. I'm not sure what it wins, but I'm sure it wins Something!
  15. Black speckles in porcelain - sand?

    I'm not sure what kind of material this might be, other than some kind of fine beach sand. It looks like it has a very fine texture, whatever it is, and the black is probably from small quantities of iron or other impurities. If you wanted to use grog, I've seen one guy make his own grog with coloured clay (eg with mason stains). Figuring out how to grind it that fine could prove interesting, though.
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