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Marcia Selsor

Member Since 16 May 2010
Offline Last Active Today, 12:57 PM

#65139 Building A Small Cantenary, Mortar Question

Posted by Marcia Selsor on Yesterday, 03:12 PM

Read all about them (clinkers) in the Potters book by Leach. We solved it by eliminating cold secondary air by making a collar of firberfax around the tube of the oil burner and sealing the burner port.


#65138 Irregular Bowls

Posted by Marcia Selsor on Yesterday, 03:09 PM

I love Ruthanne Tudball's looseness. Also Tony Clennell"s. I think they work fairly wet but don't molest it's freshness by over doing it. Ruthanne completes a teapot in one sitting without it leaving the wheel.


#65127 Building A Small Cantenary, Mortar Question

Posted by Marcia Selsor on Yesterday, 01:47 PM

i used a mix if fire clay , sawdust and vermiculite at the time 1971 for filling between the bricks on the curve. ( excuse the little hippie chick image)
I built this kiln in update NY with old bricks from a boiler in the woods. Empire firebricks.and an outer layer of insulation bricks. there had been an urban myth of using aluminum foil between the bricks but it really did nothing. Turned pretty much to ash in a firing or two. I did cover the exterior with a thin coat of home made castable which I have posted here before.This was a cross draft catenary. I built a larger cross draft in Illinois for oil burners. Those burners were in an article in Studio Potter in 1973.I cast some ridged plastic lampshades in a block of castable for the burner ports. I built another kiln for burners on each side of the door in Montana.-no photo.

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#65009 Wheel Wobble. How Much Wobble Is A Real Wobble?

Posted by Marcia Selsor on 24 August 2014 - 10:53 AM

Unless the camera was moving, I held a paper next to the edge of the board. It was moving and not the shaft. I would go around the wheel and tighten everything possible. If the shaft is bent, you will nee to replace it. A machine shop should be able to make one for you. Or maybe whoever manufactured your wheel could replace it.



#64621 Harpers Kiln

Posted by Marcia Selsor on 17 August 2014 - 03:22 PM

Success also would depend on if the heads have a good wall even wall thickness. Is the kiln in the classroom? Is it vented?

How thick are the pieces and how long have they been drying?

A simple firing would be to turn the bottom circuit on low overnight with the lid propped open about an inch. Early in the morning and put the second circuit on low. 2 hours later turn it to medium. 2 hours later shut the lid and turn it on full blast. Then sit and wait until the cones goes down.



#63991 Monkey's Fist

Posted by Marcia Selsor on 06 August 2014 - 09:23 AM

Just model them. Punch pinholes out of site to reduce the thickness issue.


#63844 Anyone Know How This Is Made?

Posted by Marcia Selsor on 04 August 2014 - 01:05 PM

I think it is a pressed image with cuer de seco

which is a resist line with a dark oxide to keep the colors separated.

#63666 Top 20 Potters From Ceramics History

Posted by Marcia Selsor on 01 August 2014 - 02:15 PM

Chris, that book about the search for porcelain in Europe is calle The Arcanum. Great read. 


If you look at the first ceramics show at the Whitney Museum in NYC Six Sculptors

you have

Peter Voulkos, John Mason, Kenneth Price, Robert Arneson, David Gilhooly and Richard Shaw, 

In Ceramics History in the US 

Mary Chase Perry Stratton  Founder of Pewabic Pottery

Mary Louise maclaughlin's work at Rookwood Pottery

Adelaide Robineau (the Thousand Hour Vase) and Taxile Doat at the Women's University in St. Louis. She initiated the Syracuse Ceramics National in 1929 and founded Keramos magazine

  She invited Taxile Doat to come to the US from the Sevres Porcelain factory in Paris.

Margarite Wildenhein

Maija Grotell , teacher at Cranbrook and former Bauhaus artist

Patty Warashina 

Robert Sperry

Stephen DeStabler

Charles Binns (Father of Alfred University Ceramics)

Ted Randall

Tashiko Takeaezu

Byron Temple

Maria and Julio Martinez

Potter Dave , the slave potter who captured souls in the face jugs

George Ohr, the Mad Potter of Biloxi

Bernard Palissy, French

Josiah Wedgewood

A good reference book might be 100 years of American Ceramics by Garth Clark or the collection at the ASU research center in Tempe, Az.

#63632 Burkes Strong Celadon

Posted by Marcia Selsor on 31 July 2014 - 04:04 PM


I think Ty has something. 

Although Glenn Nelson's base for ^6 has 64% Custer Feldspar, no silica 18 whiting , 9 ball clay 5 talc. That is it.

Here are some  celedons I used in Reduction and one for ^6 Oxidation

They all have much more silica 

Celedon^6     Reduction

Whiting  18.5

Neph. Syn 25.8

EPKaolin 18.8

Silica 31.1

Gerstley Borate               4.6

Red Iron Oxide      1.5           


AACC Celedon Cone 6

Color: light to medium green Tested

Surface texture: glossy

Type of firing: Reduction Glaze type: Ca


Ingredients: Percent Batch

Flint                       31.00   1550

Nepheline Syenite 30.00   1500

Gerstley Borate 21.00       1050

EPK Kaolin     10.00          500

Whiting            8.00           400

Totals 100.00 % 5000 gm


Also add:

Iron Oxide 1.00 50



May use up to 3% Iron oxide to intensify color


Possible Health Hazards:

Flint: free silica-wear a NIOSH approved dust mask when handling dry material

This is one for Oxidation
Selsor Faux Celedon ^6 Oxidation

Whiting 18.5
Neph Syen 25.8
EPK 18.8
Silica            31.1
Gerstley B     4.6
Copper carb 0.3
Mason #6600 Black 0.02

#63614 Quality Of Firing In Short Kiln Vs Tall

Posted by Marcia Selsor on 31 July 2014 - 06:24 AM

Congratulations. I think you should go visit one. I am 65 and I have a big oval. I use 2 cinderblocks to stand on to load it. The 18" kiln seems low to me. You could raise that height by putting it on cinderblocks. Go to a show room and feel what it is like to put a shelf into it. You could probably adjust the height for comfort for your back. The firing should be fine. That is a good company.



#63324 Scaling Down Terra Sig

Posted by Marcia Selsor on 26 July 2014 - 06:50 PM

Here is a way and fast way to make #simple Terra Sigillata:

                        Fill a plastic liter bottle with 3/4 full of water. Add 100 grams of ball clay and a couple drops of Darvon 7, or Darvon 811 or sodium silicate. Add more water until the bottle is almost full. Put the top on tight and shake well. Let the mix set for an hour or so..until you see three separate areas of the mix. Clear, light and dark. If the top layer is completely clear, add more Darvon. You want some color in the top layer. Punch a hole at the bottom of the middle layer and let it squirt into a bucket.  Wait  until your piece is bone dry and apply to the piece with a soft brush. Burnish after each application. I use a soft sponge for burnishing. You can apply several coats as until it is shiny. Too much Terra sig can lead to peeling or cracking. Bisque to Cone 09 or 1670 F or 901 C

#62769 Paper Clay Uses

Posted by Marcia Selsor on 19 July 2014 - 08:34 AM

you need to test a few things. First, according to some ideas, paper clay needs to go a cone hotter than the clay the paper was added to.

terra sig can seal but it would need to be tested because all clays that make terra sig will have various vitrification temperatures. 


I mix paper clay in slip made from my scrap. I wouldn't put it in my de-airing pug mill because it would clog the screen. I have a lot of porcelain paper clay sheets and I am ready to start some new ideas. No functional work. 



#62629 How Fast Do You Run Your Wheel When Centering?

Posted by Marcia Selsor on 17 July 2014 - 03:05 PM

I prefer slow wheels. Centering may depend on the thrower, but too fast can hinder success in my opinion.



#62572 Image Envy ...

Posted by Marcia Selsor on 16 July 2014 - 05:59 PM

I think the tires would be great in a Tire shop like Bridgestone or Michelin.


#62570 Non-Legal Ways To Address Copying Issue

Posted by Marcia Selsor on 16 July 2014 - 05:17 PM

I went to your website and you do have lovely work. But the flower forms are identical to some I bought from a friend in Italy. Porcelain paper clay by Antionella Cimatti

I think it is merely coincidence. My friend is an instructor of design, has won awards at the Korean International shows, and it is a simple flower form. She makes these in various sizes and puts them into various constructions as well as uses them in jewelry.She has nice hand made boxes for them. 

And she has been in ceramics for decades. So how would you respond to someone making extremely similar forms and probably before you made them. Sometimes, nothing is new in clay.



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