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Callie Beller Diesel

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Everything posted by Callie Beller Diesel

  1. The OP mentioned being in Toronto. GTA is the Greater Toronto Area.
  2. Lustre firings generally don’t affect the glaze at all, and you could just leave the lid with the antler handle out of the firing. A 2g vial doesn’t sound like a lot of material, but it does apparently go a long way. https://duncanpaintstore.com/lusters-overglazes
  3. Gold lustre does require a third, very low temperature firing to cone 018 (depending on brand). And it’s real gold. It’s the same stuff on the rims of fine china.
  4. Etching cream. It’s meant for glass, but I think it could be worth testing on a piece. Edit: there are some comments in the link below that say it’s easier to apply it with a sponge brush and a stencil, because it needs to go on thickly. You could probably work something out with a stencil cutter if you have one. https://www.amazon.com/Armour-Etch-15-0200-Cream-10-Ounce/dp/B001BE3UM4 If you’re handy with a calligraphy brush, why not just go gold lustre? If we’re talking funeral urns, that would be more than appropriate, and very tasteful. You could create a mock up with gold ink and clear film to shown the client before committing to anything permanent.
  5. Hi and welcome! I think glass etching cream used with a stencil could definitely be a simple, low input soloution. If you're getting a lot of these and this is becoming a business venture, looking into one of the decal making processes and adding a short third firing to china paint temperatures could be another one. With either of these soloutions, you could easily create a mock up to show the client. If you're worried about people not liking a comission, you could also adjust your payment scheme slightly. Usually what I do is take a 50% deposit, with the second 50% payable only when the customer is satisfied with the outcome. That way I'm covered for time and materials, and they have some security in that I'll deliver something they'll like. Usually if people are coming to you with this sort of request, it's because they already like your style. Make sure they have a clear idea of the kinds of things you do before you take them on as a client, and let them choose.
  6. Being in posession of a ceramics degree myself: If you want to be a production potter, don't go to art school to learn how to run that, or any other kind of business. Art school is for Art. It's been 20 years since I graduated Alberta University of the Arts (formerly ACAD), but while I was there, I was actively discouraged from giving any consideration as to how I'd feed myself after I graduated. It was considered a distraction from making. I don't know that the situation has changed any since. Programs in Canada are getting farther and farther away from models that embrace clay as craft, and are trying to move the field into more fine art acceptance. The slight exceptions to this are Red Deer College, Kootenay School of the Arts, and I think Sheridan, although I'd double check that last one. Note that these only offer diplomas, not degrees. These are the schools in Canada that have the best technical training at the moment. If you want to just make pots for a living, you don't need a degree. If you want to teach at the college level or on the workshop circuit, you do. If you want to make GOOD pots for a living, you should definitely get some kind of design education, formal or informal. Again, if you're not needing to teach, this can be self guided. Start by looking at all kinds of other people's pots to see what you like and what you don't. Take lots of workshops, and find some kind of community. Learning in a group will provide a great deal of information in a shorter amount of time, because you share each other's successes and failures. The GTA should have a ton available. Make lots of stuff. Screw it up. Make more. Glaze courses are a good idea: dinnerware has rigorous requirements, and I think if you can work out durable, food appropriate glazes, you can break them for whatever sculptural effects you'd like to achieve. Matt Katz has an excellent online course that I wish had been around when I was in college, and I'm looking at taking it even now. It's very reasonably priced for a course that's more in depth than any I took in school. It is very technical, but he's very good at explainations. https://www.ceramicmaterialsworkshop.com/online-classes.html Studio flow largely comes from being innundated with a lot of work, and having to figure out the most efficient way of getting through it without loosing your mind. Unnecessary steps get dropped in a hurry, and organization and planning kick in when you have your first 3 week deadline to produce 50 finished mugs. You do get used to doing this and more over time, but the first time is panic inducing! I used to have to transport everything I made to be fired, and it's a fantastic pain. For you, I think figuring out a way to either move your studio to your kiln or your kiln to your studio will shave a lot of time off your process. Designing what you make and having numbers of what you want to make before you even sit down speed up the workflow immensely. Treat creativity and production as the two different processes they are. Saying to yourself "ok, I need to make a bunch of mugs today" means different things on the day you're designing vs the day you're filling a shop order or getting ready for a show. If you know where in Canada you might land after travelling, let me know, and I can try and point you at some good community stuff. Also, check out www.makeanddo.ca. It's a Canadian directory of artists and clay organizations. It's not complete, but it could get you started. While you're doing all of this, you need to figure out how you want to structure your business. Figure out exactly what you want to make and exactly who you want to sell it to. I think you have a good start on this, but specificity is your friend here. There will also need to be some experimentation in figuring this out. Find some entreprenerial information! Read books, take some classes through college. While the internet can be a good resource for this as well, beware of the $50 "I sold 6 figures of my artwork last year and you can too!" kind of courses. I like Marie Forleo, and Mei Pak at Creative Hive for online marketing. You will benefit from a business community as well. Make friends with folks who don't make art. Join the local business associations when you're ready to get going. Good things come of this. That's some random thoughts from me, and if you need anything clarified, do ask.
  7. I'm pretty sure we all wish it was all in one spot like a book, but I haven't found it yet. There are some good materials references out there, but they can't cover everything. Sharing information from knowledgeable folks in addition to the always annoying answer of test test test are the two big sources of info. The problem is that there's not really one single set of rules about how any singlematerial behaves. The outcome is always modified by the other ingredients in the recipe, how it's applied, the kind of clay it's applied to, etc. And let's not even start with the things that happen when you start messing with the firing cycle or varying how you heat your kiln. The answer is almost always "it depends." On the topic of how the flashing happened: if the glaze has soda ash in it, which is very soluble in the bucket, if you wipe recently applied glaze off the surface of the pot, you can't remove the soda ash that is dissolved in the glaze water. It's been absorbed into the bisque, so it would stay behind and flux slightly. That could also explain some of the marking. It would also explain why there's a leading edge on the first pot. Like Min said, if you'd used it on a clay that wasn't prone to flashing like this, it might not be noticeable.
  8. I agree with Lee: we might be able to help some here, as well. Where are you located, and what specific targets are you trying to hit? What’s in the way of that?
  9. Apprenticeships can be difficult to come by. I’m not totally clear on all the US rules, but I think there are issues because of how you have to deal with unpaid interns now. (Someone correct me if I’m wrong on that.) There is generally not a lot of compensation. I did get taken in briefly by a production potter couple about 15 years ago. I straight up just phoned them and asked. I did some very part time menial labour that was sort of hard to screw up (sanding pot bottoms, weighing clay out of the pug mill, unloading kilns) and I did throwing demos for them on their studio sale days, to increase awareness and educate folks about the process. In exchange, I got as much information as I was able to sponge up, and whatever pieces I made glazed and fired. No question was too dumb for me to ask, and they were all answered with the patience of a saint. (Thank you Bob and Connie!) No money was ever involved. The only way I know of finding one is through your own community and personal connections. I think your best bet is to just brazenly but politely reach out to someone who’s making the level of work you think you’d like to be making. Leave aesthetics out of it, and just look at volume. You want to learn processes and workflows. Do offer to compensate them for their time in just talking to you, as not everyone will have the time to just have their brain picked for the price of a Starbucks. It doesn’t have to be money, but offer something that person might like. Think free labour, errand running or something else like those demos. Typically January is a slow month for many of us, so now might be a good time for outreach.
  10. If I had to guess, I’d say the fine line around the edge of the first image is some sort of sodium in the glaze just seeping into the clay. Some things will flash like that. The second image looks like a piece that was soda fired, but was in a dry spot in the kiln so it only caught a little flashing.
  11. Hi Mary and welcome! We probably need a little clarification on what’s going on. I’m going to guess you’re in the UK or Europe because you’re speaking Celsius, and stoneware vs earthenware. The forum here has a lot of North Americans this time of day, and approaches are different. I want to make sure we’re on the same page. Standard program for which model of kiln? They’re not universal. Is it the fast, medium or slow cycle? Did you check the ramp rates in your manual? Also, are you going to cone 6 or cone 9-10? Stoneware covers a lot of ground. Because of the point it slowed down, I sort of wonder if there’s not some sort of slow phase built in around quartz inversion. 600 is a bit high for that though. I don’t think I’d panic just yet, and no, you shouldn’t have to turn it off just yet. My kiln climbs more slowly the hotter it gets, and if it’s packed tightly. Your work shouldn’t be ruined: if, on the chance the kiln is failing and the work does wind up underfired, it can be re-fired when you get the problem sorted.
  12. It depends. I did maybe a double handful of wood firings in college. Things were always bisqued in advance because there was transport involved from AUA out to the Banff Centre. There was a Fast Freddie in the kiln yard at school, but it was less desirable to use because we only had easy access to pallet wood, and getting permission to access the kiln yard overnight from admin was a right royal pain. We still bisqued the pots that went in that kiln though, because there were enough barriers to using it on a regular basis that the relatively volume of pots going through it didn’t encourage a lot of in-depth exploration.
  13. Firing things back together is theoretically possible, but not feasible in most instances. In the absence of knowing how it was fired in the first place, anything you try is a guess. Glue is your best bet. It’ll add to the story of the piece.
  14. Now I want to see Mark throwing upside down in climbing gear!
  15. @Patricia1969 Welcome to the forum! I think we might need this question clarified a bit. Why are you switching the wheel direction during throwing, and what exactly are you having problems with?
  16. Underglaze decals can be used in the wet/leather hard stage too. I find them easier to do at this point as they bleed less readily during application. Edited to add: this would probably be the ideal method to apply the kind of text our OP is talking about. Silkscreen the mirror image text with an under glaze (purchased or homemade), and apply during the making stages.
  17. The FX 23 P is a manual kiln with a couple of weird ass clockwork timers that controls your rate of climb, a precursor to computer programmable kilns. You can’t can’t program any ramps or holds on this one: you’ll have to brace the cone sitter on, put it on full manual and figure your firings out yourself with a pyrometer. But it’s doable. It depends on your comfort level with just poking at your kiln to see what it does.
  18. I might have one better. I wanted to message my friend Mariko in Halifax about specs before I chimed in with this as a solution. Forage Studios in Halifax, NS Canada will print China paint decals in small runs with no setup fees or minimum order. She does it as a service for artists and folks that just need a small amount, and she does it for very cheap, as she uses decals *very* extensively in her own work. She just needs a PDF file. She said hers are best fired at cone 017 (roughly 1360 F) with a ten minute hold. The cone 016 I started with is about 1422. She often combines gold lustre and decals, and she’s very knowledgeable. www.foragestudios.com If you are interested in a decal printer of your very own, the company you want to research is Enduring Images. (I will not link to them because they have abused our no advertising rules here in the past, but google works, and they do have a good customer service reputation otherwise.)
  19. Aha! They’re using China paint decals, which likely fire to similar temps as lustre. The toner or sepia decals usually need a hotter temperature to adhere. You can also have China paint decals made from the same guys that do the lustre ones, or if it’s something you’re going to do a lot of, you can get a decal printer that just does black for about 1k the last I priced them.
  20. They have to say that because some things are more hazardous in the first trimester than later on, and a lot of people don't find out they're pregnant for the first 6 weeks or so. Growing another human can be kind of arcane. You're also not supposed to eat lunch meat or clean the cat box, or have more than one tuna fish sandwitch a week. I find it funnier that they have to say not to eat the stuff. Y'think?!??
  21. This is what they mean when they say it should meet flush. (Also, I don’t know why this image is showing sideways. I’ll try and fix it from my desktop later.)
  22. I am a Brent user. That’s the normal splash pan. Honestly, unless you’re throwing with buckets and buckets of water that builds up and leaks out, you should stay dry. Just dump the tray into your throwing bucket when you’re done and give it a quick wipe.
  23. The only way I could think of adding your text to these cups would be to have gold lustre decals made, but that may or may not be cost effective. There are places that will make custom decals like that, but they have things like setup fees and minimum orders. Gold lustre has to be silk screened, not printed. edit: either that, or you could add the decals, and then remove the old lustre and fire again to re-add the gold lustre
  24. The minimum temperatures for most typical China paint decals starts around cone 016, so usually pretty low. But as others have said, test one with some sort of kiln shelf saving measure just in case, before trying to alter them all. Bone China is its own unusual animal.
  25. I got commissioned to make a couple of things for friends for their family, but most of my fam has what they want from me already. I got to make a couple of fun commissions for others though. One lady got three stacking sets in different colours, one for each of her daughters. My favourite though, was a sugar jar that one of the sweetest boys I might have ever met was getting for his boyfriend for their first Christmas in their new apartment. I have some bowls that haven’t been selling as well as I wanted them to that I will take down to the Drop In Centre. They have a transitional housing program, and are always in need of cookware and dishes to supply a kitchen with.
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