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Callie Beller Diesel

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Everything posted by Callie Beller Diesel

  1. Chantay, I have some good shots on Instagram at the moment of those ones on the second shelf from the top. I'm dieselclay there, too. Lemme see if I can figure out how to upload to the gallery here... My project for Monday is to link up all my social media to each other, and upload some pics to the website. Edit: check my gallery. This is what I'm doing with my Saturday night
  2. Another basement bedroom. Real time shots. I desperately need more shelves!
  3. I agree that as an organization, their wording and bad acronym lacks a certain level of credibility. And I won't be checking to see if the organizations I work for are certified by these guys any time soon. However. I think it's interesting they've listed a baseline payment structure, more from the vantage point of myself being an emerging artist. There are a lot of sources out there that will tell you 1,001 ways to go about pricing your work, but the topic of what to get paid for the other stuff seems to be spoken about less.
  4. Hopefully this is the right place to post this. A friend of mine posted this to Facebook, and I thought it might be of interest to many. Specifically the manifesto, and the fee calculator. ....and Go! http://wageforwork.com/about/1/womanifesto http://wageforwork.com/certification/2/fee-calculator
  5. Carl, I didn't even know that was a thing until I found mention of it in the threads here. My favorite local show (as a attender so far) has staff to watch your booth during breaks. I don't know how common that is.
  6. Didn't sound like pixie dust to me! I'm with Min on loving the problem solving, especially the technical stuff. I love figuring "it" out, whatever "it" is (throwing, chemistry, firing cycles, well considered design and execution, kiln loading.) I could go for a really, really long rant, but I gotta go cook a turkey. Happy Thanksgiving to everyone north of the 49th!
  7. Krazy glue will past for a couple of years under heavy use, but will eventually let go. (This according to he knob on my favourite sugar bowl.) You can re attach using crazy glue, but you have to soak all of it off with acetone. Come to think of it, the weight of a platter might not be held by crazy glue.
  8. I'd also like to add the 500 Teapots and 500 Cups that were published by Lark.
  9. Forgive me if I seem to be reiterating what Neil said, but I'm willing to bet your liner glaze fits that clay body like a glove, and that the outer glaze combos aren't quite so perfect. I had a batch of very voluptuous mugs crack similarly using Bmix, a liner that fit, and an outer that didn't. A few vertical lines down, and cracks at the widest point, and all the cracking happened well after they had cooled. In some cases they didn't crack until weeks later.
  10. I have two shows to make work for,I am learning how to send out email newsletters using Mailchimp, and applying for some more sales/markets in the spring. Getting all organized like a grown up and everything!
  11. That's exactly what he's doing. The process is called jiggering. It's a fast way to make a lot of simple shapes very quickly. The work is in making all the molds and the templates.
  12. I have used straight red art at cone 10, and it comes out with a subtle sheen with no added frit or other flux. You could play with the sheen by adding some, if you'd like. I will say the brushstrokes are obvious, if it's applied to bisque, and adding it to green or wet ware would maybe be a good idea if you want a smoother application. I work off an iPad too. Click on "more reply options," and use attach file to upload a picture from your photos.
  13. +1 for Clary Illian's A Potter's Workbook. I'd like to give an honourable mention to "Finding One's Way With Clay" by Paulus Berensohn.
  14. So I came into some free materials from a potter who was moving across country recently. The only item I don't have any experience with is this dark ball clay. Does anyone make a nifty slip with it that has a certain effect? Does it play nicely in clay bodies? Anything to be aware of health and safety wise? Things to watch out for? Things it's really good for? It was free. Did I mention it was free? Ps, I have already checked Digitalfire, and all they say is its a plastic ball clay from Tennessee.
  15. Cathi Jefferson for her sense of form and use of soda/salt as material, Gail Nichols for her approach to firing, and using her kiln as a tool to paint with (And because they are both incredibly cool ladies that I wanna be when I grow up) Martin Tagseth for teaching me about form, and how to source it from historical references.
  16. I'm still doing a single booth myself, and they're more for highlighting some points. They're a nice touch n the dark of a night market,but not my only source of illumination, no. They do fall down if they're suspended by the adhesive they come with, but I find uplighting can be used to good effect, as well.
  17. My system is laid out by temperature first. Within each section (low, mid and high fire), I have areas for clay bodies first, then slips/engobes, and glazes last. At that point for me, chronology takes over, and they are more or less in the order in which I acquired them. This works for me, as I have a good memory for that sort of thing. If the order in which they come to you doesn't work (and I can't think it would for too many people), choose further subdivisions that make sense to you. The bonus of having it in a binder in plastic sleeves, etc, is that if your first system doesn't work, you can re arrange to find something that does. A large part of any organzation system working properly is how you intend to work with it. Usually what I do is pick a handful of glazes that I want to work with (no more than 5), out of this master list of mine. I write them out into my sketchbook, along with the ideas I want to explore with them. This way I don't get caught up while flipping through the Master Copy of All Things Glaze, and can do the work at hand. Five glazes is usually six months of work for me, so I'm not getting hung up on irrelevant things. At the end of the explorations, I record my findings with the master copy, and go hunting through the pile for more fun. You don't have to keep your working copies in your sketchbook: you can maybe pin them to the wall by where you weigh out your chem, or somewhere else that makes sense to you. It just has to be in the same place each time so it will be where you look. I wasn't kidding about the ADD. I need systems for everything.
  18. There's always someone with a comment on inadequate mug size... Congrats on a positive show! You made it.
  19. Clay Lover, I got mine at Canadian Tire, but I think Home Depot and the like should carry something similar. Just those little touch lights you get in a 3-pack, sometimes in with the flashlights and stuff.
  20. I have ADD, and paper organization works better for me than computer. Too easy to get lost in the "shiny" factor of the internet. I have a binder arranged by cone, with subcategories for clay, glazes and slips. I do about half a page per recipe so there's room for notes, but more space is probably better. You could theoretically subdivide the glaze sections according to opacity or colour or historical glaze type. Whatever works for your beady little brainbox. You could put a section in the back for notes on oxides, substitutions, or what have you.
  21. This made me smile. I learned to raku in High School in February, wearing lots of natural fibre layers . It's a good idea to warm your next batch of pots up on top of the kiln while the first ones are firing if you have them all outside. If you take the bisque off the cold pavement and put them in a hot kiln, they don't like it much.
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