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Callie Beller Diesel

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Everything posted by Callie Beller Diesel

  1. That’s normal, and it’s not your kiln. Some clays will do this more than others, and I seem to recall the earthenware I worked with waaay back in the day also seemed chalkier than usual after the bisque. Just give everything a rinse and let it dry before glazing. The dust isn’t good for you, and it’ll keep your glazes from applying properly. edited to add: not all clays will require this: some only need a wipe off with a damp sponge. Some don’t need it at all. Go with your own observations.
  2. The confusion on our part is also due to the fact that it’s not common practice to clean off greenware before the bisque. Bone dry ware will disintegrate readily when exposed to water, and blowing anything off at that stage creates dust.
  3. I’ve found some shinos erode over time, especially if they’ve got a bunch of soda ash in them. Used to use them back in college, but they can be a bit soft. (and kitchenware can be made at cone 6 too.)
  4. @liambesaw Yeah, that’s screwed up. I mean, how much work do they want to have to re-do, essentially, by making everyone apply again?
  5. The big commercial shows here almost never have a jury fee, but they also don’t usually ask people outside the organization to jury, either. It’s all done in-house. The only time you see application fees are in gallery shows, where they do ask for outside help. Mind you, door fees for shoppers are also almost universal now, as it’s considered a way to keep tire kickers out. Usually it’s only a couple of dollars, they’re good all weekend, and organizers use it to keep track of the number of attendees they get.
  6. Someone was asking on one of the Facebook groups the other day of vendors would be interested in paying a fee to upload your work to their site, they’d handle all the sales and you do the shipping and some of the promoting. A number of people pointed out he’d just described Etsy. I pointed out that there was no value proposition if I was still doing all the work. I could just spend the money on some other form of advertising. He complimented me on my website and sent me an invite. Smh.
  7. It depends on the composition of your clay and glazes. Only waiting will tell.
  8. If you want to do handbuilt yunomi, look up kurinuki carving. It can be done out of a block of clay, or a thickly built piece. If you do want to throw them and you want a foot ring, you could either throw them as you propose and trim, or you could add a coil after and throw it while the pot is upside down. Depends on what look you want.
  9. I just use a rubber set meant for scrapbooking. I think I got it in the Michael’s bargain bin.
  10. So the difference in COE’s between clay and glaze are pretty big as Liam and Bill mentioned. But other factors that ceramic folks that like to add glass to things are totally unaware of is that a) glass also melts at much lower temperatures than we typically work with. Fusing happens at cone 022 at the top end outside of blown glass, and b) glass typically needs to go carefully through more phase changes than just quartz inversion, and crash cooled through the rest of the cycle in ways that stress ceramic materials into dunting. Glass when combined with ceramic doesn’t just fail because of the differences in COE. If you’re using typical ceramic temperatures and cooling cycles, you’re boiling it, denaturing most colours, and altering the structure of the glass, totally removing any temper it might have had. Glass needs to be annealed properly to have strength. But since we’re not dealing with functional anything, there’s some leeway to be had here. If the cookie trick doesn’t work, the next thing you might try is to investigate proper glass slumping firing cycles. Google search terms “warm glass” should find you some good references. I would fire and glaze your piece as normal, and add the glass in a third, very low fire fusing or slumping firing that goes through an annealing cycle. A glass slumping firing is easier to do in a kiln that’s designed for it, but you can do it on a pottery kiln that you can program several ramp ups and cooling holds into. Pottery kilns are designed to get hotter than glass kilns, and tend to go through the important glass zones too quickly without the ability to program them in this way. It won’t work in a cone sitter model unless you have a LOT of glass experience, or want to hover over it with a pyrometer. edited to add: if you think glazes can be technical, they’re nothing compared to glass.
  11. Imposter syndrome has been known to all of us, I think. I still get it. You have to be very careful not to compare yourself to others. There lies madness. Keep your head down and keep making the things. But maybe that feeling in your stomach is excitement! Congratulations! You sold a thing after making the thing! It’s ok to feel good about that. And it’s necessary to celebrate your wins if you want to keep going. Don’t be afraid to charge fair value for what you make, and make sure there’s money in there for shipping.
  12. Thanks @Min We should all be able to retrieve our stock. It’ll just be a production to do it. Keeping good records helps.
  13. So this week, I have unfortunately had my personal distrust of consignment agreements reinforced as a shop that just 3 months ago had been going strong has gone under, and there’s been a lot of difficulty getting stock back. No one’s even talking about payouts. Because I think this unfortunately won’t be an isolated incident, I’d like to encourage everyone to do a rough inventory of work that’s consigned, and compare it with what you’ve been paid out for. If you need to be in contact with landlords to reclaim your product, being able to prove which items are yours will be important. If any consignors that you are with use software that you can check your stock levels on such as Riccochet, download your reports now, and monthly thereafter. If the proprietor stops paying for their subscription on these cloud based systems, you will not have access to information you’ll need for taxes etc. It’s a little CYA action. We’re in some hope for the best but plan for the worst situations right now.
  14. Red Art and Alberta slip both make nice iron washes that get a bit glossy, sort of engobe-like if you want to go the dark slip over light clay route. If you want to stick with the dark clay, some floating blues respond better over iron bearing clays than they do over white ones, notably the bases from the Digitalfire site.
  15. My contributions to the local head shop or the jar store are going to go largely unnoticed as well. @Mark C. My clay shrinkage is 12-13%. One Dream sells either a “low fire” or “high fire” version of the press mold, without using shrinkage numbers. Kinda weird for potters.
  16. They had to get a different licence to sell hand sanitizer, which was fast tracked like nothing I’ve ever seen. Liquor and weed stores here were declared an essential service, so they didn’t strictly need to make the sanitizer, but they stepped up because of shortages and community mindedness. I imagine they just relabelled their existing packaging to shorten the turnaround time and lower overhead. It doesn’t hurt that you’re reminded the brewery made the safety stuff, and you should go support them in their regular gig, too.
  17. When you say you’re going to slow down... I do not think that word means what you think it means! I did watch their video, and another one by John Britt showing the method you describe. I think the press mould idea will work better with how I work than the thrown version. I have an email in to them asking about which set I should get for the shrinkage rate. They’ve got a set for cone 10 and one for “low fire.”
  18. The distilleries who are making hand sanitizer? They’re selling them in large beer cans. Which is logical enough on their part. But that does mean you have to decant it into something.
  19. Oh I get it all right! I figure we’d all better get on making these. They might be in demand this next little bit. I’ll have another search for more specific bottle threading instructions later this eve. The kids are having a day today. I found One Dream online this morning after hunting through some of the threads here and checking Clay Planet’s selection, since they took over the Aftosa stuff. One Dream has nice looking metal ones, and I had planned on ordering some of the glue in rings since no one seems to have the cork ones in stock without wanting an arm and a leg for them. But if the tap and die set is a better route, I’ll give it a go. How many dies do you recommend for a small production, since you have to let things set up?
  20. We’ve also been stuck at home for two months except for essential services for 7 weeks, and starting the reopening may be premature. Cases are going down, but there have been large outbreaks at a few critical meat packing plants and at the Amazon warehouse. So ...it depends. They're making plans, but they’re also saying if the numbers start going up again, back home we go.
  21. @LeeU Its the amount of data that matters for the upload. I have an iPhone X, and the largest file size I can generate with my phone is about 3 MB. That’s well underneath the upload max of 20 MB for the files you can add to threads like this one. While I could upload my pics unedited, I tend to choose the medium setting to be mindful of folks who might not have the best upload speeds available to them. Snapseed takes information out of the image files in a way that isn’t obvious on a computer screen, but would make a difference if you needed to print them. As far as the gallery goes, I have to poke at it and find out. I will get back to you.
  22. I have 3 in five gallon buckets that are used in large quantities, and 5 that are in 1 gallon buckets that are the more colourful additions. I tend to do more side to side contrasts rather than overlaps, and rely on slip texture and bare clay/glazed area contrasts for visual interest. Picking 5 glazes (give or take 2) and learning everything you can about how they all interact with each other will give you a wide variety of visual effects to work with.
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