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Callie Beller Diesel

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Everything posted by Callie Beller Diesel

  1. For questions 1 and 2, I want way more background before stepping into that as a non-First Nations person. I notice you say “the tribe” rather than “my tribe.” What are the concerns you have about wanting or not wanting a specific name attached to your work? Why are you asking those questions in this space, rather than discussing it with the Elders? What are your ties to this work? 3:The smallest name character limits on the most common social media platform belongs to Snapchat at 15, and Reddit at 20. To my knowledge, there isn’t a significant pottery community on Snapchat (too impermane
  2. With anything on bats, I don’t bother with a wire at least until the shine has come off the pot. Usually I don’t cut them off until rims are stiff enough to support the pot when they’re flipped. If you cut them off and leave them in place when they’re wet, they’ll just reattach themselves. I lift pots off the wheel head usually only when the height is more than the width, and the base is relatively narrow. Mostly with small jars or mugs or similar items. When lifting, take all the slip off the pot with a rib, wipe your hands clean and dry, and lift gently from the base. Ribbing compresses
  3. Adding an opacifier would definitely be a place to start. This is just the base recipe. I found it worthwhile to do a line blends of different opacifiers (tin, Zircopax and titanium). Blending 2 or more opacifiers gets you more interesting results. *With the caveat that I work with red clay, which will also affect white glazes a lot* I found the brightest whites when there was a little titanium in with the Zircopax. When fine tuning white glazes, you also need larger test tiles, along the lines of small cups, to see what they’ll do. If you use something like a Currie test square, or
  4. Hi and welcome to the forum! I hate to tell you this but the short answer is that it’s probably not feasible at all to reglaze your cup. Without knowing exactly how the mug was made, what clay and glazes were used originally, the chances of ruining it are pretty high. Also, if the glaze has worn off, that’s a sign you probably shouldn’t be using it at all for beverages. There aren’t any sealers or anything like that that are approved for food use. We do get that question from time to time too. If it’s a pot you purchased, it seems like time to go get a new favourite handmade
  5. I try and give tips that would be useful for the OP, whoever it is in a given thread. And you’re right. I’d like to encourage anyone who might be lurking and not speaking up because they’re worried they don’t have enough skill to chime in anyways. There’s lots of ways to do just about anything with clay, and having a variety of solutions is helpful.
  6. I think that usually what happens is as you are required for whatever reason to make more and more mugs, you either get really fast at your given process through sheer repetition, or you get frustrated and eliminate the inefficient parts. Probably a bit of both.
  7. If a knob or a lid is attached properly, if it breaks off it’ll be on either side of the join. If it pops off like this and you can see where you scored, you didn’t apply enough pressure or friction (little wiggles). Whether you’re using water or slip, you need to gently push and wiggle the piece you’re attaching until you feel it grab. No grab=not attached.
  8. Hi and welcome! I would check with your local clay supplier to see if they have suggestions about suitable refractory clays that might be used for exactly these purposes. My place gets all kinds of calls from metallurgists, glass formers and knife makers because there are some material crossovers. They might have a line on a suitable product. (Also, I’m going to rename your question, so that it gets more views and you get the help you’re looking for. Naming your thread with your screen name doesn’t really give other viewers enough information.)
  9. Glazy has the Good, the Bad and the Ugly, for sure. Also, be sure to read the articles on Digitalfire, especially the ones about chasing the glaze dragon. (That makes more sense eventually, I promise.) Starting with a couple of glaze bases and learning how to adjust them to do what you want them to do rather than chasing recipes will save you a lot of headache.
  10. The only time I cover ware is if it will be too dry to work on within the timeframe I expect. I use a cheap pop-up tent at my outdoor market. *ducks and covers* (I weight the heck out of it though.)
  11. There’s no use fussing over it until you can open it properly and check your pots in the light of day, and to see what the cone packs say if you don’t have a good visual on them. More ventilation is not a bad thing in a bisque fire, and I assume you put your peeps back in before the kiln hit quartz inversion on the way down. It’s really, probably fine. Go make more pots while you’re waiting. You’ll feel better.
  12. Hi @BACHO, I’m going to retitle your post and move it to the Equipment section of the forum. It’ll get more views and answers that way.
  13. I’d say that kit sounds pretty specific to a course. There are a whole bunch of colourants and other things that either have very specific uses (strontium and barium carbonate, silicone carbide), or aren’t used that commonly. I’d be worried about more than one of those list items just gathering dust if you bought them without a purpose in mind. I wouldn’t recommend buying that one without also paying for the course that shows you what to do with them.
  14. I tend to take the approach of figuring out what I want to make, and then getting materials accordingly. If you’re starting out, I’d start testing with the aim to find no more than 5 recipe bases to work with. In regards to the lists you’ve found, I’d say the first one there gives you more options to choose from. The second list seems like it’s pretty efficient for cone 6, but I’d want to add some form of opacifier (tin or Zircopax) and a variegator (titanium or rutile). The titanium will act a bit as both an opacifier and variegator.
  15. Wood ash of any kind tends to be a really variable material. The people who use it with the most success seem to have access to some kind of consistent supply, or they homogenize a few sources. Or, embrace the vagaries of the materials. There are proponents of both washed and unwashed ash, but you need to screen out the lumps in either case. Be aware that any time you dissolve ash, the solubles in the water will create lye. I think the only thing you can really do is test it and find out what happens.
  16. A number of people had to set that same boundaries, and because it became common practice at the time (4 years ago?) it wasn’t a big deal.
  17. When I first started doing small craft shows, there was a group of us that would hang out with each other and share ideas. A friend of mine has a clothing line that started small at these shows, and on Etsy. Because both she and her husband were working from home, she did make pickup from her home an option, but she’d put the orders in a lidded box on her porch so she didn’t wind up wasting a bunch of her day being interrupted. A few other people in our group adopted the practice, with much success. Take payment before pickup, have a time slot during which the order will be available in the bo
  18. If anyone’s frustrated, just dm me. I’ll share without spoiling the game.
  19. It’s just your clay being a bit short. No, it won’t cause structural issues. Your attachments look pretty secure, and that’s usually where things go wrong in the green stage.
  20. It could just be your kiln sitter needs calibrating. If the sensor rod is old and worn, it needs to drop farther to shut the kiln off. Being metal, they spall with heat over time. Here’s a good resource for that. Edited to add: sensor rods are widely available, and far less expensive than elements or relays. Or a new kiln.
  21. Brents get put in classrooms for a reason. They’re good little workhorses. They do have a motor that hums, unlike some of the new Whispers, but if you don’t work in silence it’s not an issue. You could do much worse.
  22. Compared to a lot of the older potters or people I was taught by, I have a freakishly clean studio. I don’t deal well or think clearly when I’m surrounded by visual clutter. I also start the day by siphoning off the settled water from yesterday’s work, dumping the sludge into the reclaim and getting fresh water. At the end, I always sponge out my splash pan and wipe off all my tools and put them away. This way all the fines get into the reclaim, which I also do, despite it being “inefficient.” Starting to farm the reclaim out to the 12 year old though, because he wants some walking around
  23. Fun fact: there’s no legal definition of “food safe.” There are regulations around how much cadmium or lead can leach out of a glaze, but that’s about where it ends. It’s not an ideal piece to use, but I don’t think anyone’s likely to die from it. For holding whole eggs like this, or uncut fruit, or things that aren’t liquid or acidic, I’m sure it’s fine. If you’re using it to beat those eggs in, or serve a dip or soup...it will be difficult to keep clean, may show scratches and wear readily, and if the clay isn’t fully mature it may weep. In fact, I think it IS showing wear. Making a b
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