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Callie Beller Diesel

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About Callie Beller Diesel

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    Moderator
  • Birthday 11/14/1976

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

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

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  1. Alberta slip was designed to be a replacement for Albany (the Alberta is an amended clay), and probably most of those Alberta slip recipes originally had Albany in them instead. A good place to start would be to just substitute them straight across. I've never worked with Albany myself, but I had mentors that said the Albany gave preferable results. My understanding is that Albany was a tenmoku all by itself. Alberta is too in theory, but in practice it needs some amendments. I think I have a nice amber glaze that has some Alberta/Albany in it. It's a good liner glaze if you're interested.
  2. It should be totally fine. Happy throwing!
  3. If the timer has enough time on it, there's a cone in the cone sitter and the speed dial and thumbwheel are both set on something other than manual, it should be going as long as the elements aren't worn out. So that leads to more questions. Have your firings been taking longer lately? Are the elements lying down? How many firings do you have on it/did you buy it used?
  4. Bel Decal’s instructions say that their metallic and china paint decals can be used on glass. So I assume it can be done. But I also know that some stained glass doesn’t do well with heat. Check what the glass manufacturer says about the specific colour way you’re using.
  5. Usually lustres are fired at cone 020-018, roughly in the same neighbourhood as slumping temperatures. So it depends what you want to do with them. The might be compatible with some stained glass, but some glass colours will change at those temperatures.
  6. You will have to test everything if you want to mix colours. Underglaze colours don’t mix like paint, and often they don’t even mix intuitively. You can’t always apply the usual colour theory rules to them, and intensity can be difficult to gauge. I’d make some colour mix samples, the same way watercolour artists do, to refer back to as you decorate your work.
  7. @oldlady Jim Butcher is an urban fantasy author who's largest and most ongoing series is the 15-book-and-counting Dresden Files. They follow the adventures of Harry Dresden, Chicago's resident wizard. Pres and I discovered we were both reading him in the "what are you listening to in your studio" thread earlier this year. If you'd like more details I'd be happy to share them in dm, but I should probably stop hijacking the thread here.
  8. I mean, you don't live in Canada without learning how to drive in the winter. We'd be at home too much otherwise. I was thinking the boxes would be ideal for butter, as it comes in 1 lb bricks here. These are of a size that they should be able to hold half a pound easily. ( @Pres, yeah Mr. Butcher and I were friends off for a few minutes over that one! There's more than a few bombshells in this one.)
  9. @Pres I’ve only just started making them, but I think the wax resist designs have a lot of potential for play. And the snow won’t last at this point. It’s supposed to go back up around freezing next week. (Also Pres, did you read the latest Dresden yet?)
  10. What Liam said. Another problem with wood ash is that it’s so variable in composition from batch to batch. Typically anyone using ash in a glaze will create a large batch, or homogenize several smaller ones so that results will be consistent over time. You're already dealing with one variable material in the form of a “wild” clay. I would think it’d be a lot easier to amend with ball clay and neph sye as recommended, at least until you’ve worked with the clay enough to establish what it’s working properties are.
  11. I’d be concerned about using wood ash. It can be quite caustic in glazes, especially unwashed.
  12. I agree fully with what's already been said about standing by everything you put out, and being identifiable to people who may be interested in more of what you have to offer. When you say "soulless" pots, it evokes certain images of boring/unengaging work, or stuff you don't like making: stopgap items that you hate. When I was being taught professional practices more than 20 years ago in art school, there was a prevailing attitude of snobbery toward making things that paid the bills or having a bread and butter line, as they were probably distractions from our "real" work. It went a
  13. I can also confirm that my third quarter is also the best one I've ever had. It has been due to existing customers or social media followers reaching out and placing orders, and my usual summer farmer's market. Because it was one of the only venues that was open and had pottery available at it, people took some serious advantage. I'm actually glad that one of my consignment outlets went under and that I was able to reclaim the stock from them, or I wouldn't have been able to keep up!
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