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Marcia Selsor

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Posts posted by Marcia Selsor

  1. here is my former teacher's (Bill Daley) clay body. He fired it at a brick yard conveyor kiln. Daley's is toasty golden, Linda's is rich and deeper color, and David's is the reddest. If you search the Ceramics monthly Archives for an article with Daley and Wright you could see examples of their pieces. Daley's and Linda's are more for hand building. Wright's can be thrown.

    I just noticed the above link has examples of Daley's clay body.


    Bill Daley's Body ^6 tight Clay Body

    Ball Clay                   13.33%

    Cedar Hts Red Art  40

    Fire Clay                   20

    Newman Red Clay   26.67


    Barium Carbonate  1% dissolve in water

    Grog                        10%



    Linda Blossom' ^6 Clay Body

    Hawthorne Fire Clay    35

    OM #4 Ball Clay            20

    Newman Red                  20

    Fine Grog                        20

    Silica 200 mesh               15

    G200 Feldspar                10

    to glaze green use .5% vee gum in glaze



    David Wright ^6 Clay Body

    Ball Clay                    10%

    Cedar Hts. Redart     30%

    Fire Clay                     20

    Newman red               40


    Barium carb.                1%

    Bentonite                      1%

    Fine Grog                    5%

  2. I have used very fine silicon carbide to achieve copper reds in ^10 oxidation without much spotting. If you want the copper spotting as on the first pot, you might try copper granules and fire the pot in a saggar for the glaze firing and include some charcoal briquets, Someone was discussing saggars in reduction on here in the past year or so.



  3. I had a friend receive a large quantity of chemicals from a family of a deceased potter. It was going to cost the family about $10,000 to throw away the chemicals which would have to be tested for toxic disposal. You might explain that to the family when you make your offer. That is a lot of good chemicals some of which are extinct.

    I'd like to suggest to old potters out there to consider leaving your studio chemicals to someone so the family doesn't have to deal with disposal costs. There are lucky to find Roberta.


  4. Building a catenary arch support isn't difficult. Figure the size you need ( base it around the shelf size you'll be using). Get a chain , mark the dimensions height and width and nail the chain to reach those dimensions. Spray paint 3 pieces of plywood. cut it out with a jigsaw. Build it well. install on site raised on shims  that afterwards it will drop the form and slide it out of the form.



  5. I built a castable one like the catenary in Ruthanne's book. I have also fired with her. She sprays in dissolved soda ash. I would recommend learning to fire a kiln and the go to soda.  Firing soda has more temperature fluctuation in between applying soda into the kiln. We fired the soft brick kiln at La Meridiana back in 2000. That kiln lasted over a decade. They must have been high alumina soft bricks. They have rebuilt a new one again with soft insulating bricks. 



  6. I got a warning that I am almost out of space in my members gallery. I would like to delete old images. I can't even find my gallery. Could someone give me directions? I was going to post an image of a cobalt green glaze in response to a forum question. I also have posted the recipe in the gallery. I could not find it. It is in my album "Forum Discussions" but could not find it.



  7. I lived in Spain and researched the folk pottery there. Adra is on the sea...your shard could be anything from Phoenician , Greek, Roman, Carthagian, Moorish, medieval or contemporary sea-washed earthenware.  There is a great maritime museum in Cartagena , Spain. They have a great collection of amphoras and pots that came out the the bay right there.  Just about every mediterranean culture traded by sea. You an find shards everywhere along the coast.


  8. I use quick terra sig. Apply when bone dry and burnish with a soft makeup sponge or foam. 


    250 grams of ball clay or any fine clay including red art  into a liter of water in a plastic bottle. If digging clay, weigh 200 grams and ask for a few hours before mixing with the water. Shake well. Add a few drops of Darvon 7 or Darvon 833. Shake well. Let it settle for about 2 hours. Punch or slice a hole in the bottle above the line where the heavy materials settled. Drain into a container. 

    Brush or spray onto the pot. Burnish with a soft sponge. Your clay should be smooth, no grog or very fine grog. ..fine enough that burnishing won't scratch the surface. 

    Bisque to ^08 hold for an hour. If you over bisque terra sig, the smoke will not be absorbed. You might try smoking in a barrel or covered brick box. Use  sawdust, charcoal briquets, and wood. There a is great video by Piepenburg on this method. The photo is Apache red clay terra sig, with feather burned onto surface.


    Marcia Selsor.


    redfeather copy.jpg

  9. I agree with theneed for air on the burners. 

    Question: what altitude are you? If you are at a high altitude, is your chimney giving you sufficient draft. when the kiln is empty, light a piece of news paper , put it near the flue and see if the flame is drawn into the flue.

    When reducing you should have a hard flame( bluish) coming out the top peep and a licking flame on the bottom.



  10. On 7/13/2018 at 4:37 PM, Magnolia Mud Research said:

    Have a look at this John Mason sculpture, 

    images are at: 

    John Mason 1963  'Cross Form', Laumier Sculpture Park, St. Louis, Missouri


    http://www.artnet.com/magazineus/features/drohojowska-philp/ceramics-in-los-angeles-3-21-12_detail.asp?picnum=7 and 

    pictured in the second edition of Daniel Rhodes book "Clay and Glazes for the Potter" has the following caption by Rhodes: "John Mason.  Cross.  This massive sculpture,  made of solid clay,  is 5 1/2 ft.  high.   A mustard-colored glaze partially covers the surface" 

    John Mason
    American, born 1927
    Cross Form, 1962/63
    Stoneware with glaze
    161.3 x 132 x 91.4 cm (63 1/2 x 52 x 63 in.)

    Gift of the Ford Foundation, 1964.71

    John obviously knew how to fire thick pieces without blowing them up. 

    Also remember house bricks are thicker than one half inch! 

    Large sculpture pieces are usually made with a clay body designed for sculpture and have a firing schedule designed specifically for sculpture.  The half inch limit is seems to have developed for table ware and household storage containers.   



    he was one of the 6 ceramicists exhibited at the Whitney as a ground breaking event for ceramic art in 1980.  Gilhooley, Mason, Voulkos, Price, Arneson and Shaw.

    I saw a show of the 6 of them at the San Jose NCECA around that time.Mason's work was powerful. They all were. I digress  https://archive.org/stream/ceramicsc00fole/ceramicsc00fole_djvu.txt


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