Callie Beller Diesel

Some wax resist stuff I’ve been messing around with.

I can get a serious case of blank page syndrome when faced with a large block of clay and no other directives. I need to have some choices made ahead of time, and I like most things to be planned out before I head to the studio. I need to narrow the possibilities down, which is why I work within a functional framework. I come at it from a “This is my job” angle. In the early part of the year, I schedule play and design time, to work out new ideas and keep things fresh. There’s not a lot of sales in January and February, and I’m flush off of Christmas, so I have the space to noodle a bit. I think about the feedback I received over the year, and if I’ve noticed I’ve received a lot of requests for an item, I’ll make the effort to design one I like. If I had requests for larger items, I’ll play around with them at that point, because I have the space to do things like throw a large bisque mold, or glaze test, or try a new material or technique. The middle of the year is about testing those new designs in the market, and seeing who likes what and how well it sells and at what price point. There are adjustments made, but at that point it’s more about perfecting existing designs, or starting to make more of it, making work for ongoing markets and stockpiling the proven items for Christmas. Christmas planning starts in June, and and my cutoff for trying to work out anything new is the start of September. At that point my focus shifts from “what am I making?” to “how much do I have to make?” That last part is all based on numbers from last year at the same shows, plus who needs what for retail outlets and any online sales. Creativity gets put on hold for a couple of months, other than idea gathering and sketching. In a lot of ways I find the production time freeing, because I have a list and can just crank. Seeing a huge pile of stuff you’ve made at the end of the day is very satisfying. But at the end I’m glad for the rest, and the time to noodle.

Two down, 50 to go.

+1 on the grout sponge. Sketchbooks, and craft foam for templates and small slump molds are worth a mention too. And snap off utility knives are better than fettling knives imo.

I use so very little cobalt, I'm not even sure anyone would care if I gave it up or not. I use it in increments of 1% or less, so I'm still working on the 250g package of carbonate I bought two years ago. I don't work in oranges or reds because I don't want to expose myself to cadmium, never mind anyone else. I don't care if they're stable enough for my use, someone had to expose themselves to keep me safe. To me, it's not worth it for a few pots. I bought the smallest package of red stain I could 5 years ago, and I can't bring myself to use it much. The yellow stain I do have is praseodymium based. Not sure how rare earth mining practices compare those of cadmium or cobalt.

New mugs, and a commission for tiny display dishes for a spice shop.

@preeta the first set of cups were made by Dawn Candy, who is actually from my neck of the woods. She’s @littlesisterpottery on IG if you want to check her out. Those particular models look like some of her older work. Her whole process is to draw with a slip trailer and underglazes (I have no idea what brand), and then she layers glazes that run over top. The second set are Sean O’connel’s, and he actually has a video here on CLAYflicks on his decorating process. These cups are part of it.

@liambesaw. Liam. My friend. Those prices, man. We need to talk!

It's maybe not a student question but a customer one, usually from someone who isn't familiar with clay: "How long does/did it take you to make that?" While I do have my stock answers to this question worked out, I find it's still difficult to give a s atisfactory answer without sounding either arrogant or too obscure. Most people when they ask this are trying to figure out the value of my work, how hard it is to do, and how pottery in general differs from a mug you buy at a big box store. If I slaved for hours, that must be where all the money goes, right? I believe that education is important, so I'll take a few minutes with these folks, even though it likely won't result in a sale today. But it might later. I try and explain that the individual piece breakdown isn't always a very practical analysis, and depends on a lot of things. ('It depends.' heh.) I describe a bit of my work cycle, the wating times, multiple firings and the batch nature of making pots. I tell them it can take years to build skill, to learn firing techniques and the glaze chemistry. I explain that more experienced potters usually spend less time making any one item than a novice does. With any luck, what I describe to these folks is at least interesting to them.

My furry companion passed a couple of weeks ago, and everything is so quiet without her.

Hmmm. I have a simplified kit for outdoor shows, and a few more added items for indoor ones. (You'd think it'd be the other way around!) Mostly my outdoor work is a weekly farmer's markets, and the odd night market. Indoor shows here are more the norm. The outdoor stuff is mostly street festivals here. The simplified kit has: business cards, an assortment of writing implements including chalk for some display signs, price stickers (mugs mostly), Square chip reader, backup swiper, credit card payment signs, note paper, email sign up forms, duct tape, packing tape, dressmaker's T pins for tablecloths, scissors, utility knife, multi tool, string, wire, sandpaper and a Kemper stone, business card holder, tissues, lip balm, gum, pocket container of Advil, 2-3 band aids, hand warmers and 2 vitamin c powder envelopes, 3-4 cough candies and a cash apron with float. All this fits in a train case that I found at a thrift store. I have another box for table risers and sandbags to prop bowls on so people can see inside, 2 sizes of paper bags and tissue, my main table cloth and a sign. For indoor shows, there's more boxes of booth accoutrements, like my lighting setup including extension cords, power bars and Velcro ties (moving away from zip ties because I only need them for cord control), additional risers and sandbags, additional table cloths, curtains, s hooks to hang curtains from pipe and drape.... I think that's it.

I don't get a whole lot of glaze drips, and I hate post glaze cleanup so I put more effort into prevention. Most feet get a light polish with a little red rib in the leather hard stage, which is all my clay needs for the most part. My issues tend to involve the clay picking up a tiny bit of kiln wash, or lids sticking. I wet sand any galleries in the bisque stage because I find it's less elbow grease. For the odd thing that slips by, I use 220 wet/dry sandpaper (always used wet), or a Kemper stone. I have a large throwing stick that was poorly made that makes an excellent mallet to gently tap apart any lids that stick. Packing items for shows are just newspaper and Rubbermaid bins. For mailing things out, I opt for small bubble wrap, the cornstarch packing peanuts and I purchase boxes from a company called Shipper's Supply. Online orders are packed with a business card with some care instructions on it, and for larger or special orders, a quick thank you note.

I've never actually owned a garment that required dry cleaning. I just went into the shop and asked if they could give me a handful of bags. I've held work for 2 weeks under dry cleaner plastic, and my climate is classified as semi arid. You have to make sure you have plastic under your ware board if you need it to last that long. Eg, lay one piece of plastic on the shelf, place bats or boards with pieces on shelf, curve excess bottom plastic inwards and gently lay bag over top of ware.

Am I the only dork left using dry cleaner plastic?

Just a gentle reminder folks: This entire conversation at its heart is meant to be about showing each other compassion and respect. No name calling, and remember this is all in the service of learning . If someone who knows better tells you you’re doing it wrong, it’s worth listening to them if you want to expand yourself. Admitting you’re doing something wrong or hurting someone inadvertently is uncomfortable, but necessary for healing and growth.

https://makikohastings.blogspot.com/2019/05/naming-does-matter-my-thought-on.html?m=1 I’ve come across about 5 references to this blog post today, despite spending a total of 20 minutes on social media. So after finally reading it, I feel very strongly it belongs in this conversation right here. It’s written by a Japanese artist who has spent half her adult life in the UK, and tells of her frustrations in watching words and concepts that are deeply held and respected within the Japanese culture used and abused by many from the west in order to sell things. She speaks about wanting to encourage those who are curious about and inspired by her (and other) cultures to investigate them, and learn. Learn so you actually DO honour what you are learning to love, and so that you don’t accidentally insult it. Most importantly, she has a reference for westerners that she recommends on the topic of Wabi Sabi, which is a term frequently misused and abused by potters who have an incomplete and often wrong. understanding of the concept.

@liambesaw @Pres Yep, it's wax resist brushwork on a red clay body, and a white glaze. My NCECA loot included a lot of new brushes.

I made a thing.