Hulk

That's a steam explosion from firing too fast for the thickness of the piece, or the piece still being too wet. Let the piece dry completely, do a preheat for a couple hours. Be sure to vacuum out all the clay crumbs from the elements.

Here is the completed piece all glazed up.  All work has been done in the kiln, completed with satin glaze and minimal china painting.  The only thing on him that isn't ceramic media are his mane flights which are enameled metal, inset with pins into tiny holes along his neck.  Completed to a light dappled grey and with an optional base I have made for him to be affixed to, this piece will be posted to public auction.  He measures 3.75" inches tall and will be a unique color and variety in an edition of not more than probably 20 or so variations.  Once I have finished editing his photos and he has been sold at auction, I'll add a photo to my gallery album with him standing on his base.
Tada!  So now you know how I make my equine fine art sculpture in ceramics.  This one earthenware but I also work in porcelain and fine bone china.
 

I wouldn't get your hopes up on that. We don't get iron staining from our water, and the iron impurities in my kaolins are guaranteed to be significantly higher than whatever might be in my water. Public testing results are under 0.03mg/l, so only trace amounts. We also know for a certainty that iron gives a yellow discolouration in oxidation whiteware bodies. There's a solid chance it is caused by something in my water, but I don't think iron makes sense as we'd see this in all bone china worldwide.

Creeped your insta, my god your slip looks delicious, only way to describe it haha! That pink slip just looks amazing, luminous.

When we produce a ceramic material that allows "light" to pass through that material we are working with a "glass" even though us potters call the material a clay body or a glaze.  
Todays "Ceramic-Tech-Today"  article: Colored glass: From alchemy to empirical chemical design  
https://ceramics.org/ceramic-tech-today/education/colored-glass-from-alchemy-to-empirical-chemical-design/   
has some useful information and background that might help determining why the bone-china pots show a color when seen in a light source.  Remember that the source of the "light" is also an important variable.  
LT
 

After looking at the manual posted in the other thread this controller seems a bit weird. T1 is the time taken to get to the NEXT temperature not the C1 temperature. That seems backwards to any controller I have programmed. 
C1 0020c, T1 0030m
C2 0100c, T2 0030m
C3 0100c, T3 0600m
C4 1140c T4 0100m
C5 1240c T5 0000m
C6 0020c
 
That should go from room temp to 100c in 30min and hold at 100c for 30min. Then it takes 10 hours to get to 1140c (you could speed that part up) and then up to 1240c in 100m (60c/h)

I have a sieve that fits a 5 gal bucket,  I bought it about 40 years ago.  A few years ago the screen started break along the edges,  so I went to the supply store and the same screen had a flimsy plastic body on it.   My  old screen has a heavy plastic body,  my husband sealed the screen in with a waterproof adhesive.   It isn't very pretty but it works  and I have a really small sieve for test glazes.    Denice

Hi Brian_Ire, welcome to the Forum!
We did a pit firing in Wheel I and Wheel II classes, no ferric chloride was used - just pit fire with some smelly biscuits added to the fire*.
The wares came out interesting black, orange, yellow, and baked brown colors...
This article has a long paragraph on ferric chloride safety, and another paragraph on Raku safety:
Natured Inspired Firing (ceramicartsnetwork.org)
Check back, perhaps others with ferric chloride experience will respond...
 
*horses having passed since the last high tide!

I use a talisman at work, and while it’s great for 10 gallon batches of glaze, it would be wildly impractical in my home studio. The cleanup of the brushes is a pain. 
I have a smaller sieve that sits in a 5 gallon pail at home, and I use a large round sash brush to push the glaze through. It works pretty fast and cleans up very easily. 

To give back to the thread, I just had great success adding 4% Veegum T ($$$) and 0.5% CMC gum to my LF clear and then gelled it further with a touch of epsom salts. The result is a bucket with about the worst rheology possible, unworkable by all rights. However, I dipped a couple pots through the glaze, shook them a bit, and got really good even application. It dried well without any cracking. I tested layering and that worked great too! I won't get a chance to fire for a bit, but thickness is good so I can't imagine how it could go wrong from here.

Up to you if ease of application is worth the VeeGum T tax.

I too have experienced the same issue with white clay firing yellow -ish under clear glaze. Ugh, so frustrating. While I'm not using Standard's white slip I do work with their white earthenware (STD 105). I recently discovered that same document from Standard (https://cdn.shopify.com/s/files/1/0039/8177/0841/files/105-LFW_Glaze_Rec.pdf?v=1674848426) and find it interesting. I've been using Mayco/Duncan PB001 which is on the list as compatible (crystal clear at cone 04) but it wasn't for me. That said... I did test the Spectrum 700 and was happier with the results. The clay is definitely whiter under that clear glaze.  I bisque and glaze to 04.

If I were to guess I would say this may have been caused with dry solder joints, as small cracks appear on the solder ring around the component pin it begins arcing
If I were to guess I would say this may have been caused with dry solder joints, as small cracks appear on the solder ring around the component pin it begins arcing and eventually burns the whole joint out. But as you mentioned, its quite tough to see the tracks in the image, if you can give a clear image of both the top and underside of this PCB I would have a better idea on what actually popped. 

In electronics you will find most PCB designs have common weaknesses and if you replace like for like then chances are you will find the same fault reoccurring eventually. If you opt to replace this whole board then I would recommend giving all the solder joints (Especially the burnt one) a reflow with some good quality flux cored leaded solder.

Thanks Min, yes it only has 1 thermocouple. I'll make note of this info for my next bisque firing

Thanks so much for your repl
 
Thanks so much for your help. I think I'll adjust the firing schedule and make sure I pack it evenly! Really appreciate you taking your time to reply

Thank you

@Carols Ceramics Where is Lemon Grove? Also, it would help to post a list of what you have.

We purchased a building that housed Carol’s Ceramic Studio in Lemon Grove. 100’s of ceramic molds, kilns, supplies, etc? We want to get rid of everything.

I should add I put my large shallow porcelain sink  and water setup  with high ball valve pipe and hose setup in studio from a salvage yard in 1973.  The sink is shallow but large.That was 51 years ago. Lot of water thru the screens  since then.

I used to use a Talisman but switched over to using a cordless drill with a brush attachment and a regular plastic sieve that sits in the glaze bucket . WAY easier to clean up!!! Can clean the brush attachment in a small basin or pail of water or under a running tap. Takes seconds and no big sink needed. I have one sieve for clear and light coloured glazes and the other for the dark glazes.
I sold my Talisman.
To give credit where credit is due this idea is from @liambesaw

I used 2 old fashion galvanized hoops with  brass screens for decades with two sticks over a bucket until I bought a Talisman. Now I have three if them hanging -bought two used from other hobbyists who sold out. I have one for white glazes and one for dark and one that just hangs. Many people buy one and find their set up cannot clean them well. The trick is a tall faucet in studio with a rubber or in my case silicone  hose as I can put a 5 gallon bucket in sing or spray out the sieve when done with it. Once you master the plumbing they work fine. in a small sink its to hard to clean them. I have been to NZ to the factory on the north Island in thge 90s and bought spare parts as well. I have about 30 years now in using them and never  looked back. Now the other day I was doing smaller than 1000 grams and used one of the tiny smaller Talisman  from Laguna clay baby sieves .These are made from PVC with stainless screen. I use an 80 mesh for all sieving as well no matter what the sieve.
The Talisman is made for large batches like 5 gallon buckets or larger. I do not consider it a hobby size deal as its to big.

Hi folks, we covered this a few years ago, but I was mixing glazes yesterday with my plastic bucket sieve, and a brush to run the glaze through the sieve into a spare bucket, and then back into the rinsed out original bucket.  I have often wondered about buying a Talisman sieve, but in the long run the cost scares me away, and I really get along fine with my bucket sieve. I will pick up a digital scale as the cost of them has come down.
QotW: Talisman, Bucket or other type of sieve for glaze mixing?
 
bestg,
Pres

I used my one-gallon bucket for tools to/from Wheel I&II classes.
The throwing buckets available in the Ceramics Lab were all two gallon size (and encrusted); I prefer the smaller size, so, double duty.
Full sponge, half sponge, sponge bits, pointer, metal rib, wood rib, wood knife, sandpaper, wire/cutoff, a few brushes, small glaze sieve, tape, scissors, razor knife, and somewhat I'm not remembering, surely.
For other stuff - snacks, glasses, drinks, notebooks, more snacks - I'd repurposed my "tool bag" from last ~fifteen years of work life, somewhat like this, err, exactly like this:
BUCKET BOSS 12 in. Gatemouth Tool Bag with zippered top and 16 Total Pockets 60012 - The Home Depot
...but well worn and faded.

Brilliant answer, exactly what I was looking for.  Thank you
I did have my suspicions that a flux would be needed. I really don't mind spending time experimenting but working with gold has obvious drawbacks. I have allocated a few grams of scrap for this purpose.
I've ordered Greg Daly's book so this will be a good starting point. Hopefully I'll have some positive feedback in the coming weeks.
Sounds like you've been down this particular rabbit hole yourself with success?

I wasn't successful getting the gold to reduce with just pine resin, if you buy Greg Daly's book "lustre", he details making it from elemental sulfur and gold chloride. This works well.  Commercial lustres using pine resin thinned with toluene use a different gold salt, I'm guessing that's the reason they work.  I think the compound is a chlorohexanoic salt of gold. 
You'll also need a bit of bismuth in there to act as a flux bridging the gold and glaze.  
I had some luck making a silver lustre by making silver soap.  Silver decanoate.  But it was difficult to dissolve in almost everything so it was a pain to apply.  Was conductive though and I made a few touch lamps using it.  Also had success doing a similar thing with copper.

Some plausible-looking advice on techniques and H&S referenced in:
Historically there have been two sorts of lustres: reduction lustres and resinate lustres. Your comments seem to apply more to the reduction-fired reduction lustres. While tho commercial oxidation fired products are resinate lustres.
Ever wondered why solder is often sold with a rosin flux running through it? When you apply it to the joint the hot rosin reacts with any oxide on the copper surfaces to form copper resinate.
The resinates lustres are made by reacting metal oxides or salts with rosin and dissolving the resinate in  or another solvent. With luck you finish up with quite a high concentration of metal resinate  in the solvent. When these are fired they decompose leaving a thin metal film (and often some pretty nasty fumes).
As Min said, do try and get in touch with @liambesaw if you can, but he hasn't visited the here since  2022.
A friend used to run a garage industry making resinates and had very strong reservations about many of the solvents used in commercial lustres, sticking to - AFAIK - linseed oil.
Manufacture a gold lustre is fairly briefly covered in "Pottery Decorating" by R. Hainbach.  Which involves mixing "bright gold" with a bismuth lustre. Bright gold apparently containing resinates of gold and rhodium (and also possibly bismuth, uranium, chromium and iron?). Although a simpler wet process is also described for producing gold resinate from gold trichloride and resin-soap.
... probably much better to find out what people do nowadays.
PS The book seems fairly expensive at the moment, change this search to your location and currency.
https://tinyurl.com/2d783cv8
 

Hi guys, I'm new here, I seemed to come across this forum a fair bit when researching things so figured it was about time I signed up, its given me some pretty useful tips over the last year or so. Happy to give back what I take, I have more of a technical history than ceramics but there's plenty of overlap.

Anyways, my first post I'm looking for a bit of guidance on creating my own gold lustre, there is very little information floating around the Internet and any books I've purchased are more geared towards using lustres than making them so I've been fumbling in the dark. Now I know commercial  lustres are available but I have a working project that requires me to make my own to give provenance to the finished piece
Now as far as I can work out a gold lustre is simply either elemental gold in a nano/powder form or gold chloride mixed with a carrier oil, lets say pine oil, would this be a correct assumption? I would then use toluene, turps or similar to thin this to the right consistency? Would I pretty much just mix say 10-15% gold with the oil, then boil to ensure it mixes well? I already have some experience in refining gold and do have the necessary nasty chemicals to produce my own powder or chloride so its really just the last step that im fairly vague on
Thanks for any input, like I said, information on the process seems very patchy, even a pointer to a decent technical book would be appreciated.