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Marcia Selsor

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Posts posted by Marcia Selsor

  1. I had a Cress (used) about 45 years ago. I agree with dhpotter, just a simple, 2 hours on low, (with lid cracked open til steam stops..check with a mirror or mason jar, by watching if they fog up) shut the lid after 2 hours or if you still have steam, shut after the first hour n medium,.

    2 hours on medium turn to high until finish. Check after 8 hours after beginning.

    Marcia

     

  2. I used a similar system for color development. I learned it in the 60s and used it when I ws teaching. I posted it here several times over the years but not lately. I mix 250 gr. of the base. Add water to a glaze consistency. Pour equal amounts into 5 cups ( 50 grams of dry mix in the batch)  labeled A,B,C,D,E.. . have a 6th cup for the mixing. Have 15 tiles prepared, bisued and numbers 1-15. Add a good variety  of colorants. Example: A=base add a colorant to the base if you like.  B-3% iron Ox. , C=2% copper carbonate, D=1% cobalt carbonate, E. 5%rutile  The weights are 1/2 of the % amount since it is a 50 gram batch in each cup.. Ex.  1.5 grams for 3%  for the iron.  Mix in and sieve.

    1st row is straight from the cups   A, B,C,D,E 

    2nd row    Mix a teaspoon of A with each of the others    A+B, A+c, A+D, A+ E   this reduces the colorants by half 

    3 row   Mix B+C, B+ D, B+ E  this reduces the colorants by half 

    4th row  C+ D, C+ E  this reduces the colorants by half 

    5th row  D+ E   this reduces the colorants by half 

    this gives 15 color variations relatively quickly. and only one dry mix.

    Marcia

     

  3. here is a red ^6 Oxidation glaze. Th recipe is in my gallery under forum discussions. The tin and chrome  are  in the stain.

    Recipe ^6 Oxidation red 

    This is using 10% deep crimson Mason stain in a glaze altered by Ron Roy for Sue Hintz 

    Version#2 ^6 OXIDATION

    Cornwall Stone 33.5

    G200 22

    Whiting 18

    Ger. Borate 10

    EPK 5.5

    Silica 11

    Bentonite 2

     

    Mason Stain Deep Crimson 10%

     

    gallery_1954_167_316937.jpg

  4. that is impressive. The liver color comes from not reoxidizing after reduction. You could try using a slightly thinner application for this one. I gave John Britt all the glazes we used at Montana State  University-Billings  from 1980-2000 for ^6 reduction when  I reduced the firing temperature for classes.. This red was a good one. He has tweaked many of them for his book. If you go to my gallery I have the raspberry recipe posted beneath the photo. I believe it is under the album Forum discussions.

     

    Marcia Selsor

  5. I experiment a lo,but I usually have the advantage of an educated guess. I really love discovering new ideas from others too  My advice is stick to the direction you want to go and explore as much as possible in the direction you are following.Some things will lead to brilliant results and others, not so much. But it is all part of the learning curve.

    Marcia

  6. or if the glaze doesn't want to stick, you could make a little batch with the glaze and  a small amount of karo syrup and brush it on the spot. Some people use a touch of hair spray on the surface to brush. There are several ways to approach it. It the glaze has a fair amount of clay, it may brush right on without any problem. fire a slow glaze so you don't shock it.

     

    Marcia

  7. I have made it for since '93. I use paper linter for the source. I started making it at Banff while on a residency there and right after Rosette Gault had been there. She has written 2 books on it. Also Ann Lighthouse from Scotland has written a book on it. I make 200 pound  batches in my Soldner mixer.

    I tear the 20 xx 30 sheets of linter into strips after wetting it. Then soak it to ready it for my pulverizer. After beating it into oatmeal consistency,  I strain it through a screen and squeeze it into apple size balls. I store some . after drying and put the other into the mixer with water...in my mixer that is about 2" deep. I use 15% by volume to the clay. The volume is an eyeball estimate with the dry mix sitting in a garbage can.. I have used ^1 terra cotta for making paper clay. For the ^6 porcelain, I used my scrap porcelain soaked into a slip and then added it to the wet pulp and dried it on plaster slabs into sheets. I few drops of hydrogen peroxide avoids the stink of rotting paper pulp for a while. Bleach also works. click on the links to see the photos and explanations.

    Vince asked for these photos for the second edition of his book. I don't know if he ever used them.

    here is my equipment: 

    here are some installations made with ^6 porcelain paperclay and  ^1 terra cotta   paperclay. Of the pieces shown, the architectural installation is in Rosette Gault"s Paper Clay; the Art and Practice

     

     

     

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