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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.

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10,229 profile views
  1. Callie Beller Diesel

    Reglaze tips needed!

    Finger oils and dust can sometimes act as a resist between bisque and fresh glaze, which can lead to crawling and other similar issues. You have nothing to worry about if you have finger prints on top of a fired glaze that’s going in again for the reasons you describe.
  2. Callie Beller Diesel

    What’s on your workbench?

    Workbench results this week: tea strainers, tea cups and dishies.
  3. Callie Beller Diesel

    glazes or underglaze ?

    Having just finished running a bunch of line blends with pink and violet Mason stains myself, my vote is for varying levels of pink or violet stain in a transparent glaze base of some kind. I've used Mason stains as underglaze and in slip, and both of those techniques give a different colour quality and visual texture than in the image. Colouring the clay would definitely also work, but would maybe be cost prohibitive at the saturation levels in the picture. Case in point: one of mine below. This is a clear with 3% pink stain over white slip work.
  4. Not shipping to the US anymore if that's the case. Not worth it for the 2 orders a year I get.
  5. Callie Beller Diesel

    Thoughts on the Cress FX-23 P

    I have an FT 31, which is a precursor of the FX, and a bit larger. It fires dead even top to bottom. Freakishly so, in fact, and I've got similar coil spacing. Maybe because they're tall and have a smaller diameter? It came to me very unused, the elements were fresh. I push cone 7 when I glaze fire. The controls are pretty analog, but I'm used to that. I too, paid $500, so if it comes around again, maybe bargain them down a bit. added: I wound up pulling my pyrometer. I didn't have a meter to hook it up to, and it was placed in a really awkward spot for spacing shelves and allowing for the kiln sitter.
  6. Callie Beller Diesel

    Glaze Ingredient Storage

    I've seen those Rubbermaid bins recently in Canadain Tire and Superstore. They're switching the colours, so they could just be between batches. They seem to be making them all out of that slightly softer plastic that they say is for indoor and outdoor use.
  7. I think the closest I've come is some bisque molds. I play with those! And I've made some ocarinas and shakers before.
  8. Callie Beller Diesel

    What’s on your workbench?

    Clotted cream is heavy cream made into a sort of pudding. Sweet, not savoury with scones! And good luck with all your trimming.
  9. Callie Beller Diesel

    Black and white ink spot/oil spot copycat?

    @Marcia Selsor do you have this link handy? I'm curious too.
  10. Callie Beller Diesel

    Most used sieve size?

    Are you asking about volume? I haven't yet reached the point where a Talisman is needed, and I probably made $30,000 worth of pots last year. (That's made, not sold.) I have an 80 mesh that fits over a 5 gallon pail, and a couple of test sieves. They have been serving my needs just fine for the last 15 years. Make sure whatever you get is easy to clean.
  11. https://hyperallergic.com/447056/economics-visual-artist-study-creative-independent/?utm_source=facebook&utm_medium=social&utm_campaign=sw So here's a little Saturday morning light reading for everyone. I know when I went through getting my BFA 17 years ago, there wasn't a lot of information given on how to actually pay the bills with my art/craft. In fact, aside from one class that talked a little about grant writing, the different kinds of galleries and how to shoot slides (with film!), we students were actively discouraged from thinking about our finances. The reasoning we were given was that it would somehow detract from our artistic development to consider the marketplace when making anything, and that there isn't any real blueprint on how to be an artist, and you have to find your own path. It has definitely been an interesting slog figuring out that path in the subsequent years. My question to the group then, is what are the business skills, tools and resources that you found most helpful at the start of your various clay careers? What are the tools you're finding most helpful now? I want to hear from everyone at all points in their careers, and I want to encourage any lurkers to come into the light. (I'll put my favourites up after a few people respond.)
  12. Callie Beller Diesel

    What should i mix in tio2 for cost reduction?

    20% tin is a lot in a recipe to start with. Half that should give a good solid white. Tin definitely gives a softer white than zircopax, and titanium used by itself goes yellow. I'd suggest starting by doing a small line blend with decreasing amounts of tin to see how much you actually need to opacify your glaze. This by itself could reduce the cost of your glaze. If you're not happy with the results of that test, try blending opacifiers to find the sweet spot where you still have the softness that tin brings, but aren't breaking the bank trying to get a nice white glaze. I've had good luck with tin/zircopax combinations for a stark white, or tin/titanium combinations for a white glaze that does interesting things when layered with other glazes. Edit: argh. Sorry. I read that as tin, not titanium.
  13. Callie Beller Diesel

    Need help with design idea...

    Thermal shock tests usually involve putting a piece in the freezer for 12-24 hours, and then either immersing in boiling water, or even boiling them for a period of time to see if the piece breaks, or the glaze crazes. If your glaze fits the clay body properly, it should survive this treatment. If the piece doesn't survive, it's back to the 'ol glaze test sieve. Given that you're just beginning right now, I suggest focus on working out the form first. The glazing is going to be a whole other skill set, but one we can help you with when you're ready for it.
  14. Callie Beller Diesel

    Need help with design idea...

    Welcome to the forum! Questions are indeed welcome here. I think as long as you're using a shiny glaze that is soundly forumlated to fit the clay body you're using and fully mature at the temperature you're firing to, it should resist eggs sticking to it in the microwave. If you use a metal scrubber on any ceramic surface, it'll scratch. For a piece that is meant to be used in the microwave repeatedly, I'd pay a lot of attention to thermal shock tests. In terms of which design to use, I'd make a couple of each and test them out to see which you prefer. Using the object itself will teach you a lot about what design will work the best.
  15. Callie Beller Diesel

    Making an Urn, Help

    Preeta, it sounds like the white slip recipe you're using has a different shrinkage rate than your clay body. A rough hypothesis, in the absence of knowing your recipes, is that your casting slip is a common ball clay/talc combo. Ball clay has a high shrinkage rate, which would lead to the problems you're describing. If you want that nice, smooth sheet of white slip you get from dipping, take a slip recipe that you know fits your clay, and add a few drops of Darvan. I work with a red clay that I apply a white slip to pretty regularly, and the slip I use is just a white stoneware from the same manufacturer of my red clay. They have the same wet shrinkage rate. And if that sounds roundabout, the Fish Sauce recipe is pretty magical. Added: fish sauce is quite refractory. I have used it successfully in cone 11 wood kilns.
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