Jump to content

Callie Beller Diesel

Moderators
  • Content Count

    2,111
  • Joined

  • Last visited

Posts posted by Callie Beller Diesel


  1. Prevention of burrs is less work than sanding for sure. Work clean, and putting your pieces on a very smooth surface to dry is a big help too. I second Neil’s use of 220 grit set/dry sandpaper for anything that gets missed. 
     

    I’m going to point out though that if your glaze is scratched easily by a reasonably finished foot rim this glaze may have durability issues, and might not be the best choice for plates. 


  2. Chefs generally want their food to shine, not be overpowered by the dishes: not too many places want dishes with any kind of colour other than white. Grey or soft brown are daring choices in the food world. The pieces in the article are definitely in the minimalist category. They seem to all start out as cylinders with a bit of flare, and warp pretty good in the kiln. Very delicate, and they have some animation. It's all about the form. The cups look like you have to think about how you're going to hold it and drink, which makes another argument for it being about this being about being present, and thinking about eating.

    And my guess is the bones from the restaraunt are only part of the bone ash in the clay recipe. That part's probably gimmick. A lot of high art is. (Wall bananas, anyone?)


  3. Hi Brooklin and welcome!

    Not like mosquito coils, no. Just thin clay "snakes." Spacing and placement depends on how pyroplastic your clay is, and the shape of the piece you're placing. If your clay warps a lot, you want to use more coils so that the piece is well supported, and doesn't have any spans wide enough to slump into. The idea is to place the coils under the piece so that when the clay goes through quartz inversion and the related expansion and contraction, the piece isn't sticking to the kiln shelf. It also helps large, flat items with rims to heat more evenly because the're not touching the kiln shelf, which behaves as a big heat sink.


  4. He's making bone china. It's similar to Corelle in how vitreous it is, so it might not require a glaze. It does indeed warp like the devil.

    In terms of making a statement about waste vs value, particularly in regards to our food and where it comes from, and the objects we own, it makes a lot of sense. I like the symmetry of it. Dining at places like this is supposed to incorporate a higher level of experience and attention to detail than just eating because you're hungry. 


  5. So Mason 6020 is a pretty soft pink.  6% in a recipe is a good starting point, but I'd maybe make some small tests at 5, 10 and 15% to pinpoint the intensity and hue you want before committing to a larger batch. In terms of firing temperature, I wouldn't go into cone 10 range, but I can vouch that it works just fine at cone 6 in oxidation.


  6. In the name of having everything properly connected, I hired an electrician to do the work in my panel, but I dug the trench and assembled the conduit for the line.  I haven’t had to replace any components yet, but I have no problems working on an unplugged kiln. Take pictures before you disassemble anything, and make sure you put things in order as you take them apart so you can put them back the same way. 


  7. Zinc is a flux, and an odd one to use at cone ten. It melts early and stays fluid for a wider temperature range, so it’s more usual at cone 6, in very fluid glazes, or in crystalline glazes. In the quantity it’s in and without running it through glaze calc software, it’s probably there to give some kind of visual effect involving running or fluidity. Maybe to clear bubbles?

    Where did you find this glaze and what is it supposed to do?


  8. If you go through the rest of her feed, she uses a fair bit of mother of pearl in the rest of her work, so I think it’s a reasonable assumption. Mother of pearl can be very difficult to photograph accurately with a phone, and optimal light conditions are needed. While I do know of some accounts that use a dslr to take their Instagram photos, it adds steps and isn’t typical.

    Or we could all do something whacky and ask her, rather than guess about it amongst ourselves. I messaged her on Instagram to see if she’d be willing to clarify about the optical effect. 


  9. Oh wow, it’s been a minute since I asked this one!

    In the name of updating everyone on what happened, I fired the mother of pearl to 017 and it worked great. I found I had to really mind my application thickness, because it will drip and run and make a yucky haze if you put too much on. I bought a couple of sable brushes that are dedicated for the use and cleaned them with olive oil. 
     

    This one is definitely a pine oil base, and I had to use it outside because I don’t have Liam’s fancy fume hood.


  10. I am a basement dweller, although I do have walls. I’m not sure how it would work with one big open room, but I think if you aren’t able to frame and hang drywall, even just hanging some plastic sheets to designate your studio area could be a thing. 
     

    I second what everyone said about keeping everything clean, and want to add that having a strict “studio shoes” policy keeps the dust out of the rest of the house. Your studio shoes don’t ever leave the studio, and you don’t ever go into the studio without putting them on first. Even to get your phone charger! I know this can be difficult, especially because I have to haul my pots outside to the kiln. But it’s important. 

×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.