Roberta12

Dealing with commercial glazes makes things a bit tricky, because we don’t know what’s in them, or the exact mechanism they’re using to create a matte, but it’s not impossible.
If your supplier has a matte and a gloss glaze that both come in dry mix, you could try combining them in different proportions to get the finish you want. Start with 80% matte and 20% gloss, +/- 5 and 10% either side. As far as making it more off white, you could try adding small percentages of rutile to warm it up a little. 
When adjusting white glazes, make sure to use larger test tiles than you normally would. A small square of white glaze will look much like any others, but when you apply them on even a 250g cup you’ll start to see the subtleties. Things like how much, or even if it breaks and pools, what colour does it break, are there any glaze flaws evident, how much does thickness of application matter, etc. 

Spray may be the best if surface is textured. Soft mop brushes with the wash at necessary "thickness" .

Texture, pattern, and incised lines all are enhanced by the use of oxide washes and sponge washing afterward. However, as texture becomes deeper and rougher angled spraying will enhance these more than the oxide wash and sponge technique. However experimentation is needed with this technique as to the thickness of the wash, and the angles used with the spraying.
 
 
best,
Pres

actually it was @GEP who gave that advice!  I have stuck to it, (mostly)  A couple of times I didn't visit a show beforehand, I had regrets!  You might luck out, but it helps to get a feel for the venue just to see if it is a good fit for you.  
r.

actually it was @GEP who gave that advice!  I have stuck to it, (mostly)  A couple of times I didn't visit a show beforehand, I had regrets!  You might luck out, but it helps to get a feel for the venue just to see if it is a good fit for you.  
r.

Theres a Marketplace section here on this forum. Facebook Marketplace and Craigslist are also good places to check out.

It varies, depending on the size and scope of the show. For a good 1-day show, maybe 50 items. For a good 4-day show, maybe 250.
This answer does not apply to anyone but me. For everybody else, the answer will depend on your experience level.
 
 No. Attendance does not always correlate with sales. Attendees and serious buyers are not the same. Or sometimes a show will have great attendance, but your work does not fit in, for various reasons.
The “other method” that works is to go back to shows that you have done before. You can estimate your sales based on past sales at the same event. If it’s a quality show, your sales should improve as you continue to do it. For some shows, after several years it might run its course, where you have saturated that market and your sales start to decline. There really isn’t another reliable way to do it. 
I wholly endorse what @Roberta12 said … for shows that you have not done before, it really helps to visit it in person before you apply. You can gain so much insight just by being there and observing everything. 

@falseawareness what @Min said is spot on.  Best advice I ever received was to visit a market ahead of being a vendor.  You get an overall feel for how the market is organized, what the shopper demographic is, how far you will have to transport your very heavy pots and shelves, all of that, what products other vendors are selling.   I have been a vendor at a Beer festival and a wine festival.  People are there for the entertainment and food and music.  Not to buy pots.
Roberta

I go by sales figures rather than number of items. What I consider a good sale likely won't be what others are okay with and vice versa. It takes a while to dial in prices to what buyers will spend without undercutting yourself.
I never do a market without checking it out first, I go and walk around the venue, see how busy it is, if shoppers are actually buying and carrying bags, how crowded in the vendors are, booth spaces etc. Attendance does matter but the type of venue matters equally. Example would be a music festival where there is also a market area, there may have high attendance but people going to a music festival aren't going there to buy pottery.
Welcome to the forum.

I have a full shelf on the bottom, but use half shelves after that.  I fire a lot of plates and platters, I have had no problems spanning the half shelves.  I appreciate the flexibility with the half shelves.  As well as being able to easily heft them into the kiln.
I use kiln washed cookies for my porcelain.

That's what I used.  a vinyl remnant that simply laid on top of the floor.  At the time (12 years ago) they referred to it as luxury vinyl.  It is flexible and we actually folded it to bring it in the house.  No glue, it just flattened out. 
 

I agree with Hulk, a piece of sheet vinyl would work great.

Good question!
If temporary, a large vinyl flooring remnant could be an option?
Where the edges are well away from the activity, a damp mop makes cleaning up easy.
If the edges turn up at the wall/baseboard (wall to wall!), then doing something at the door(s) to mitigate the tripping hazard remains.
If permanent, vinyl might still be an option, but putting something flat, dense, and smooth under is likely required.

Thanks for the input everyone! I ended up installing a shimpo table top wheel under the glaze booth. 

I just made my morning tea- porcelain mug with water in it, microwaved for 2 minutes. The water is too hot to drink, but the mug handle is very cool, like maybe 85 degrees instead of room temp. I'm going to call that microwave safe.

I question the testing using the same piece for each subsequent heat increment as each cycle will stress/shock the glaze. I know that's the point but I agree with Hansen's take on this. I sometimes go 300F/ice water, then 315F/ice water then 325F/ice water. If a glaze doesn't stress craze from this I don't think it will with everyday normal (sane) usage. 450F to ice water IMHO is far too extreme! We are after all making ceramics, not metal bakeware. It does seem logical to soak the test piece for 12 hours after a reasonable stress/shock testing though.
edit: In the past I did try the boiling water / ice water testing, had a glaze that passed it so went ahead and glazed a load of pots with it which later went on to craze. I'm sticking with the oven/ice water test, greater difference in temp therefore a harsher test, either the one above or just 3 sets of samples at 315F. 

Pinched your fingers yet? (yup, I've done that a few times )

It is coincidence that @davidh4976 mentioned a clay body so high in iron that a magnet will stick to it and I received in the mail today the strongest magnets I’ve ever seen. So, of course I had to play.. My clay is a local iron rich earthenware that vitrifies at cone 03. Not all the pots do this, apparently only the ones that are reduced heavily and fired to maturity. 

Refiring is need,  speckle clay have a  lot of impurities that need to burn out,  I use several clay's that have a excess of impurities.  I fire a slow C04 to keep my glazes clean.   Denice

Thanks for the info on the breaker I will check with husband make sure he knows this before I try to run kiln again.  My newer kiln has never done this (so far) 
I am so glad I found this forum. And folks are willing to share their knowledge and time to submit it

It’s below the lowest temperature I would consider bisque fired. It’ll be fragile. More absorbent, glaze will go on thicker than you're maybe accustomed to. Some people glaze greenware, it works. This seems beside the point. I don’t even know that you’re planning to glaze your work. 
Put a piece underwater overnight to see if it’s ceramic yet, shouldn’t be able to scratch it with your fingernail. It doesn’t matter if you fire 6 hours, 10 hours, or 50 hours, the clay has to get hot enough to change. If your kiln fails at bisque, how are you going to do a glaze firing?
I agree with @Bill Kielb, troubleshoot everything from the breaker to the kiln. Fix that before making any other plans. Get some cones if you don’t have any, don’t rely on the pyrometer alone. There are no ceramics without a kiln (or a very very hot fire).
You are ok, by the way. Things will work out. 

1353 is cone 017 ish. I assume you were trying to go to cone 04. I would suggest refine to 04, hopefully you are using cones. Bisque firing removes organics and chemically combined water so how much time and how much time at temperature is the important part. I would troubleshoot the kiln, fix it then re-bisque to desired cone.

I just talked to Stoneleaf.  Tin ox is $108/pound.  Guess I will stick with Zircopax.  They do have Gerstley.  $224/50#  I think I will get that.  It will last me a long time. 

I have a full shelf on the bottom, but use half shelves after that.  I fire a lot of plates and platters, I have had no problems spanning the half shelves.  I appreciate the flexibility with the half shelves.  As well as being able to easily heft them into the kiln.
I use kiln washed cookies for my porcelain.

Even at $100/pound, say you put 30 grams of glaze on a mug and 3 grams of that is tin it's only 66 cent a mug in tin.
I don't let it put me off using it, I like tin