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Rebekah Krieger

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About Rebekah Krieger

  • Rank
    The extraordinary clay bender
  • Birthday 12/26/1979

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  • Location
    Wisconsin
  • Interests
    Crochet, reading, metaphysical studies, meditation

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  1. Please pardon my lack of fluff here, but I feel that modern society has perverted the idea of kintsugi to be what it was never intended to be. It was never intended to be a way to repair pots that were made to sell, or to cover mistakes. . It was a way to repair long cherished pots.
  2. I recently read in a ceramics monthly magazine (from the 80’s) to insert broken pieces of pasta (be it spaghetti or something larger) to keep holes open and smooth.
  3. When I participated In Simon Levin’s wood firing, I asked the same question. They had a few reliable glazed there for glazing, but with wood firing the form and any surface design will really be magnified with the collection of ash or flashing from the flame path. Most of them look the best with minimal or no glaze at all. I would strongly discourage using a cone 6 glaze, and also a glaze you haven’t fully tested in reduction. Perhaps the person organizing the firing can allow you to experiment with some of the glazes they trust in firing. Adding all of that ash collection with your lower temp glazes could potentially drip down onto other pots. You will also learn more about the firing based on the way the pots look in varying parts of the kiln. The placement of the wads I find to be a fun way to experiment with the flame path and surface decoration. (So no glaze ... you never know what spot that pot will fit and how it will need to be placed)
  4. Ahhhh... I’m such an airhead. I just put 2 and 2 together to realize that titanium and rutile are basically the same thing. Yes, the newly mixed batches have 8% titanium PLUS 5% rutile. (And then the 2% tin) So it’s essentially 13%. Glazing is such a learning curve.
  5. Mason stains tend to be true to color. (Except for red, so getting an encapsulated red helps) i would recommend testing percentages maybe 3%, 5% 7% to see how it looks for intensity.
  6. Thank you Neil! I will be coming Saturday early eve to pick it up. Feel free to message me how much I owe you. My question to what you said... do you think it might help if I layered it on my bad pots for a re fire with no colorants added? Perhaps some scm warm sprayed under to or would that worsen the problem?
  7. http://<a href="https://ibb.co/C9v9yX7"><img src="https://i.ibb.co/WzFzXdy/32-D4-E7-B1-F539-4-FB2-B16-C-FB49565-D74-B8.png" alt="32-D4-E7-B1-F539-4-FB2-B16-C-FB49565-D74-B8" border="0"></a> hopefully that worked. Here is a better shot of some flow I get. I like the “buttery” meltyness its 2% tin 5% Rutile. I sometimes spray portions with scm warm to encourage more interesting surface too.
  8. My cones indicated a strong 5 , almost cone 6 with that firing
  9. That’s what I believe. The firing was the same. I did a pure mixture with no titanium over one and re fired it and it didn’t change it much at all. There is a small chance I got some fat white mixed into it as well (magnesium glaze) but I don’t believe that to be the case based on my recent test tiles to troubleshoot the problem. https://i.ibb.co/yq0WTZM/5-DC75691-AEF0-4-CB7-B091-16957130-C4-B0.jpg test
  10. https://i.ibb.co/yq0WTZM/5-DC75691-AEF0-4-CB7-B091-16957130-C4-B0.jpg test
  11. http://<img src="https://i.ibb.co/yq0WTZM/5-DC75691-AEF0-4-CB7-B091-16957130-C4-B0.jpg" alt="5-DC75691-AEF0-4-CB7-B091-16957130-C4-B0" border="0"> <img src="https://i.ibb.co/yq0WTZM/5-DC75691-AEF0-4-CB7-B091-16957130-C4-B0.jpg" alt="5-DC75691-AEF0-4-CB7-B091-16957130-C4-B0" border="0"> Edit to add- if the photo didn’t work, I have a link posted below to it. I hope the photo worked. Above are two pots. The glossy pink one is the formula I use on most of my pots. The brushwork bleeds exactly the way I want it to. The other one is a matte mistake. I mixed up a batch of my glaze (VC matte in John britt’s book) and accidentally added the (8%) titanium listed in the ingredients for the colorant. (As well as the rutile and tin) I forgot that typically I leave the titanium out and add rutile and tin to achieve the flowy pink. The black brushwork is purposefully messy because they almost always run the way I intend. This recent batch was quite large and all of my pots turned out to be this chalky yellow. I attempted to re fire a pot (as a test) with a more accurate mixture of my glaze on top, and it didn’t improve the flow or shine. So now I’m wondering if there exists a glaze formula that I could dip these pots into that would fix these pots before I toss the entire load. I’m thinking something that flows to encourage the black glaze to run when re heated. (The black is fat white found in Pinterest with 6600 mason stain) I’m open to trying a whole new formula that is proven to be consistent with this kind of situation. I would LOVE any help I can get to save this load before I throw it away.
  12. I have stopped signing my work for a variety of reasons. I am considering using wax resist for signature and using water etching to bring it out. Due to the nature of wax, I have had difficulty with being able to use a brush more than once. Does anybody have techniques to preserve their brushes for wax? Is it a lofty goal to expect wax to be used for writing without having to burn through 200 brushes per year? I would love more ideas on how to achieve this. Thanks!
  13. I try to cover my hands with wet slurry, this keeps everything slippery and uses less water.
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