Marcia Selsor

Retired. . . .who is retired. . . . Seems like I am settling well into another life, bowling 3 times a week, just getting ready to start restocking shelves in the library for more reading, have heat replacement to install in the shop, and undecorating for Christmas yet to complete. Seems like I work more now than when in my past life.
 
best,
Pres

@mrcasey, Could you describe your construction technique, along with your drying process, and finally how you set the pieces in the kiln?
 
best,
Pres

There should be no problems, and don't get anxious. . . .if you open too soon you'll getting cooling dunts which can be really devastating. Wait until the kiln is cool, vent a bit, and wait until heat coming from vent space at lid and peeps is slightly warm on the hand.
 
best,
Pres

Sorry to say, but some of us do not use instagram, could you please post the images on in your post?
 
best,
Pres

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Thanks Pres. Don't you love retirement!!!
 
Marcia
 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

thanks, marcia, i wrote this in my glaze book but have not used it in a long time.  the reminder is timely,

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

That is beautiful.  Lin

There was a great little display decades ago in the Smithsonian Museum of Industry of 6 plates of a similar size and similar (very similar ) motif manufactured in 6 different countries in Europe and Asia. I have no idea where the motif originated.
I wish that museum would reopen. I have been trying to revisit that display for a long time.
The Ultimate Culture Wars might be the pottery Wars between Korean and Japan.
 
Marcia

Hi Lucia!
I agree with everything said above, and will add that you want to increase the depth of filed to get the back edge of the lip in focus. Also crop them closer, and I wouldn't mind seeing them a little bit brighter (although that could be an issue with my monitor, not your photos). I tend to shoot a little bit lower on the pot, so the back edge is just showing a little bit. As you get higher above the pot the form can start to distort and look odd. Shoot at the highest resolution you can so that I can resize to whatever is needed. Always keep the original big file.
You'll find that certain surfaces and colors make for better photos than others. Back when I had a much larger glaze pallet, I always used my matte glazes for show entries because they made for great photos.
There's a lot more leeway nowadays for what's acceptable in show entry photos. You don't have use the old school gray fading to black, but it's always a safe bet. I have a hard time getting that type of image to look good with the very glossy pots I make now, so I've switched to a solid gray background with a natural wood foreground (so that my pots don't look like they're floating in a gray void). I get into just as many shows with that setup as I did with the gray-to-black fade. On instagram you'll see a lot of really nice images with a plain white background, shot in a light tent. Ultimately they just want something that shows the pot very well and doesn't distract from it.

And to clarify, you do not need to change your password on the forum, as it is on a separate platform than the main Ceramic Arts Network site.
Thanks!
 

I used to candle overnight wet to leather hard pots for the kids. Would start the kiln right after school 2inch lid gap, work until around 530, and head home. Next morning would check kiln for peep moisture around 645, then depending start a slow ramp to bisque 06. Worked most times, especially when there were heavy spirit houses or coil  pieces in the kiln.
Years ago, mid 70's I went to a workshop at Indiana State College of PA. They were doing fast firing one day with pearlite addition. Threw like crap, but the pots survived and were glaze fired in two days of the workshop! Took students to the workshop also, and they were impressed!
 
best,
Pres

When I was teaching ceramics at the high school level..... We lined 5 gallon buckets with old pillow cases to store the clay to be reclaimed. When ready to dry, we just pulled out the pillow case, tied a knot at the top and set it outside to drain.  If the outside weather was too wet or too cold we put the pillow cases in our utility sink which had a clay trap.  When ready to wedge, we just opened the pillow case on the wedging boards. 
I required X number of studio maintenance from each student each grading period.  Reclaiming clay is little more time consuming in my own studio without the help of all those teenagers! 

I got ^10 copper reds in Oxidation using silicon carbide for local reduction back in 1973. hadyn
red was the base. It was a common approach back then.
there are many solutions to challenges in glaze chemistry. I might add that the Selsor in Selsor red copper reduction glaze is me.- and I used this glaze for many years as did my students.
 
Marcia Selsor
 
 

written on a typewriter.!
Marcia