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Thank you everyone for all the replies! This is amazing. I've not found people elsewhere this helpful, you folks know your stuff. Kelly! I'm overjoyed to see another bone china piece that seems to have a touch of green in it! I was a little unsure at first, the plate you linked is possibly porcelain, and could be glazed green, but the Narumi piece has a green band around the footring where thick, but a yellow body. I did some digging and I found some 1980s bone china of theirs online with a distinct green tint that matches mine very closely. Super exciting, you must have done some serious googling. I will say green is not common at all, nothing I have that wasn't made by me is green, nor has anyone else's that I've checked. It is clearly out there though. I'm put at ease seeing it in something made professionally, it can't be a sign of fault. It must just be some arcane material interaction. It couldn't be iron, as all other bone china would have iron in similar amounts. My bone china has only slightly less iron on average than vintage English bone china (they entirely use nzk now I'm told), so I'd imagine I'd see similar results if iron were the culprit. That leads me to look at differences, I use Veegum T and don't use Cornish stone or a sub. It must be something in either of those. I've already tested real bone ash vs TCP, both giving greens, so that isn't it. My mind zeros in on the Cornish stone, I can't be sure of much else, but I can be sure that Narumi wouldn't import Cornish stone, they'd find another flux. As they produced ware with that green as far back as the 80's, whatever it is needs to be available back then. That possibly rules out Veegum T, but maybe other refined Smectites were available? As min points out those contain magnesium, that could be it, and is easy to test for! In my work, I've been playing with combinations of frits, soda spars, and silica in the 25% of the recipe that would have been Cornish stone. Min, I will absolutely test your suggestions, but you don't need to ship me any materials. That is too kind, but I share space with a long running large production studio (also where I work), odds are I can dig some vintage stuff up in there and work something out. I'll get the sub on my spring order. For Peter, yes I can confirm I've tested it in many lighting conditions. I use neodymium a bit and have lots of lights to show it off, made that test easy. Thanks everyone, I've got some serious testing to do now. I'll check back frequently!

If there's still any liquid in them, you might be able to use them but, in my experience, re-hydrating dried out acrylics doesn't work.

I recently had a house fire and many small containers of acrylic paint were subjected to severe heat but not directly burned. Will they be salvageable? Thanks Katiethepaintinglady

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.

Just curious...why low-fire earthen ware rather than mid-fire stoneware?

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.

Pack the middle the tightest. Have you tried just using the cone 08 preprogrammed firing schedule?

Test the element resistance, it's the best way to know for sure. But with 15 minutes longer and 75 firings they're probably still good. Resistance per section for 240V1P should be about 14.45 ohms.

@neilestricke23T cone 5.5, Slow glaze slow bisque Yes, we have a meter. I have not measured. Glaze firings, 15 minutes.

What model kiln is this? Serial number? What cone are you glaze firing to? What schedule do you usually use for glaze firings? Do you have a meter so you can measure the resistance of the elements? https://hotkilns.com/test-resistance-ez How much longer are the firings taking?

I have elements and TCs on hand, but I have held off changing them. You can see why from the photo. As expensive as elements are, I have hesitated. The reason they have different firings on them is because there was an issue with the top element. I had glaze on it and it burned out. So I changed just those 2 top elements. The top 2 elements have 73 firings, the bottom elements have 62 The kiln is still running, bisque firings are not extended, glaze firings are a little longer. What would you all do? Change them all out? I can't seem to flip the photo. Sorry.

Still using "SE 13 1/4 Inch Stackable Classifier Gold Prospecting Pan" for sieving glazes. I'd bought an 80 and 100 mesh. They fit a five-gallon bucket. Looks like the price has almost doubled since 2018 (I'm seeing just over $30 each now). I'm encouraging flow with my rubber gloved hand. The sieve rinses clean easily. For small/test batches, I'm still using this smaller unit, which I'd put together for screening glaze at the JC Ceramic Lab (when I was taking classes there) using 100 mesh stainless steel screen (I still have a few square feet of screen!), a plumbing collar, a section of black pipe that fits in the collar, and some glue. Almost as easy to make several, so I did, and gave the extras away... Still using US Balance 2000g (it will go a bit over 2000g before erroring out) scale (~$26, today, about the same as six years ago). I thought it a reasonable compromise between inexpensive and sufficient to the tasks. The 2000 gram limit means more than one step for some glaze ingredients.

At 800 degrees, the glaze particles have not begun to sinter, they are just a little toasty. Fix the kiln and refire.

Thank you! Based on the error message, it might be the relays which we are checking now, or it the kiln was loaded way too bottom heavy. Elements are all good thankfully. Once we get that sorted we will just give it another go - I had just wondered if I needed to reglaze or fire differently the second time since the pieces already fired at 800 degrees for awhile, but I am just overthinking it.

@ABlancBest bet here is to assess the kiln problem, fix it, and then re-fire the load to ^6. Check your elements to make certain none of them has broken first. If they are in good shape, then the problem is probably in the lead boxes. Is this kiln run on a cone setter or a programmable controller? If in a setter was the cone in the setter still as if unused? best, Pres

The kiln gods frowned on me last night. My Cone 6 glaze firing errored out and the kiln only got up to 828F degrees before stopping and cooling back down. The pieces look fine - like unfired glazed pieces but the surface looks a little "cooked" or "toasted". Good to just fix the kiln and give it another go? Or did something happen chemistry wise to the glaze hanging out at 800F that I should take note of before refiring? Thanks in advance!

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

Thanks so much Pres, super helpful information and great explanation. Feel more confident now with bisque firing

Thanks Babs, its really helpful to have many reference points/info from different folks as it helps build a bigger picture for me.

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

Can’t thank you enough

Thank you, I will try

Thank you

No it did not come with a manual and I do not really know how to program the controller( the controller just specifies Pv and Sv

As much of the density or mass in a firing comes from the shelves themselves it's often helpful to put the taller pots on the bottom shelf, shorter pots and more shelves in the middle of the kiln and tall again on the top shelf. (assuming it has with just one thermocouple or is a manual kiln)