Roberta12

Yes, I was thinking about corrosion as well.  You have lovely windows right there and the fumes could cause discoloration and corrosion.  I remember a post a few years ago about someone whose kiln was in the garage and there was a corrosion problem.  But I also know how desperate we can get trying to set up our own studio workspace.  And yes, I carry all my pots from the basement up the stairs, out through the garage, across the driveway to the workshop.  We simply do what we have to, to make things work! 
Roberta 

Yes, I was thinking about corrosion as well.  You have lovely windows right there and the fumes could cause discoloration and corrosion.  I remember a post a few years ago about someone whose kiln was in the garage and there was a corrosion problem.  But I also know how desperate we can get trying to set up our own studio workspace.  And yes, I carry all my pots from the basement up the stairs, out through the garage, across the driveway to the workshop.  We simply do what we have to, to make things work! 
Roberta 

I pack my pots from my basement to my outdoor kiln. It’s not my favourite pastime, but I feel better about having my kiln outside than in my basement. It’s in a tin garden shed with no door, and the only things I keep in that shed are a folding table for loading, and a shelf for my kiln furniture and a lantern for loading in the dark. Going on 6 years, and so far, so good. My area is dry and cold, not humid at all. In the summer I wind up glazing outside, and that saves a LOT of work!
I find wind is an issue. Even in a sheltered area, leaves, dirt and debris collect under the kiln. You have to clean the area around the outlet pretty regularly if you don’t want to create fire hazards.
I would check into code about kiln sized outlets on external walls. I believe hot tubs that require a 240v service and a 40-60 amp breaker will have similar requirements. Or at least that’s what we went by.
If any of those windows are transoms that swing out, you’ll probably want to make sure the gasket seals aren’t letting any fumes back into the house. And keep an eye on them, because I can confirm what Neil says about the corrosion. I don’t have a vent fan, and the area around the peeps are getting a little rusty. 
If you have concerns about neighbours sight lines, a metal privacy screen could be a good option.

Murphy's Oil Soap is an effective way to seal plaster, temporarily. Depending upon how it is applied it will sometimes just flake off the plaster surface after the plaster has dried. (No need for washing, in other words.)
Murphy's, like all soaps, develops a lattice structure only after it is lathered up and then allowed to dry. (After the suds/bubbles have been wiped away.) The drying creates the lattice structure that seals the surface.
If one is making a mold of a fired ceramic object, Murphy's doesn't really seal the surface. It sits on top. If the plaster is poured while the Murphy's is still wet it may absorb into the freshly poured surface.  If that happens the plaster may become weakened and may erode sooner than normal.
If I'm making a mold of something, other than plaster, and I'm unsure if it's completely nonporous, I will spray acrylic paint on the object. (That way I know the surface is sealed.)
In mold making, like all things creative, there are "rules" that can make the process more effective. On the other hand, like all things creative, one can break the rules and still have successful outcomes.
 

Makes sense. We think of plastic as totally impermeable, but it isn’t entirely.
With the recent addition of a cat to my life, I’m thinking of building a damp box out of one of my shelves, so she’s not climbing through wet pots to get to her favourite studio perch. I have some vapour barrier that I was going to use, which will be a change from my entirely too old stash of dry cleaner plastic. The vapour barrier I have is only 3 mil I think, so it might be a closer comparison than a heavier 6 mil.

Could you send a picture?  You said hump mold but then said you couldn't get the cup out.  Does that mean you put the clay inside a mold or outside on the mold.  Usually my plaster molds dry clay very quickly.  But I live in a dry area.  Were  your plaster molds cured?  I usually wait a few days before using them.  Just throwing out some ideas. 
Roberta

A thread with a few references
An online book 21st Century Kilns, and a few articles
http://www.clayartarchives.com/

Could you send a picture?  You said hump mold but then said you couldn't get the cup out.  Does that mean you put the clay inside a mold or outside on the mold.  Usually my plaster molds dry clay very quickly.  But I live in a dry area.  Were  your plaster molds cured?  I usually wait a few days before using them.  Just throwing out some ideas. 
Roberta

Who knew???  Certainly not me!  I know that some plastic is thinner, heavier, but that is the extent of my knowledge!  Thanks for the research @Min

Recently I started using pieces of a painters plastic drop sheet to cover pots as I had misplaced the roll of a different brand of plastic sheeting I had been using for years. There is a marked difference in the drying rate between the two types of plastic. It got me wondering about why this was happening.
Turns out there are at least 3 types of plastic sheeting that are broadly available and they have measurable differences in water vapour permeability.  Low density polyethylene (LDPE), polyvinyl chloride (PVC) and polyvinylidene chloride (PVdC). I don't know what the original plastic sheeting I was using was made from or the brand, it's a large roll that I've been using for many years.  The painters plastic drop sheet I just started using is this one. My hunch is that it's the type of plastic that is making the noticeable difference. Going forward I'm going to experiment further, pots I want to dry slower will get the drop sheet plastic and for ones I want to dry quicker my original roll of plastic. I should add all the pots were covered in my usual manner. 

Thanks so much. I am going to do that. I just got into a my first juried show. I am an art therapist in private practice. Selling my work felt like  a second job but now I am going half time as I hit 66 to pursue sculping and playing with clay more. If I make some money at it, that would be nice too.  Start simple , thanks again.

As a 90’s kid who remembers hematite and rose quartz rings, there’s a reason they’re not making a comeback with all the other 90’s trends at the moment. They shatter easily with minimal impact and they’ll cut the heck out of you if it happens while you’re wearing it.  I don’t know if that’s the most auspicious wedding band symbol ever.

Notice re lead glaze firing, worth a checkbefore purchasing?
Where would you install it?
Ok for bisque if clean.

@Donna Fletcher I will dm you. I’m in Calgary, but I can maybe help you ask the right questions in the right places. If you’re looking for a basic form and not another design replicated, there are people who do such things. 

First 2 images (pot and test tile) really look they were in a firing that cooled slower than the pot in the 3rd image. Rate the kiln cools at can easily have that dramatic a difference in appearance. More matte and paler colour in a slow cooling kiln vs a kiln that cools quickly (like your test kiln would).
10 hours to do a ^5 glaze firing in a small kiln with no slow cool is a long time. Did you use a bisque fire setting going to ^6 by any chance? was your kiln new when you bought it? if not what do the elements look like? 

I ended up using a variety of depths of plastic tubs with towels on the nottom, newspapwr between the pots, and towels on top. One tall one with an extended foot, think tree roots , had a plastic bucket lined with towels and supported by foam bits all to itself!
All home, on their rims, on the shelves, a few touch up colour slips needed . Tomorrow..
Subaru back full, bucket strapped in to front passenger seat. Left fox terrier at home , too risky, eh!

I have greenware tyransported every two weeks. to my studio for 20 years. I have also done it alot myself.
The trick is to flip the pot if needed so the heavest side is down.Put on ware boards  or bats whatever size  you have, squares are more efficiient space wise
The professional tip is covering it with towels. I use beach or wash towels. That steadies it and keeps it from moving. . This will make all the differeance 
gently cover and gently remove towels

The type of padding is less important than whether or not anything can shake against anything else, or if there’s any load bearing considerations. Dry or even firm leather hard ware is still going to be extra vulnerable to vibrations caused by going over even small bumps like utility covers. Don’t let pieces rattle against anything.
If you stack things like bowl, make extra sure that the item on the bottom of the stack can withstand the weight of the items above it, and that the uppermost items aren’t being supported on the rim of the item below. Try to line up foot rings on top of each other. 
 

In the past, I have placed everything on wareboards, still in the leatherhard stage, and transported that way.  I have a Subaru outback, I was able to lay the seats down and accomodate all the wareboards.  I have also transported in low tubs with lids, placed some old towels and rags between things just to keep them from knocking together.  That way I could stack the tubs and get more in the car.  I prefer transporting things in leatherhard stage, rather than dry.  A bit more resilient, I guess.   I have a bumpy rural roads for part of my journey.   Good luck!

In the past, I have placed everything on wareboards, still in the leatherhard stage, and transported that way.  I have a Subaru outback, I was able to lay the seats down and accomodate all the wareboards.  I have also transported in low tubs with lids, placed some old towels and rags between things just to keep them from knocking together.  That way I could stack the tubs and get more in the car.  I prefer transporting things in leatherhard stage, rather than dry.  A bit more resilient, I guess.   I have a bumpy rural roads for part of my journey.   Good luck!

Hi, Donna,
Your project idea seems to put all the Research and Design expense and effort onto the craftsperson. Unless these will be able to command a high price with some guarantee of orders, I don’t imagine experienced potters would take you up on the offer. 
If you need standardized sizes and styles that can be personalized, you are asking for some kind of small-batch manufacturing, which would require serious up-front money. 
How serious are you?
Rae
ps, are these funeral urns?

Attachments that aren’t stuck on tight are goin to fall off anyway, with vibration. I prefer leather-hard so they don’t dent but can be repaired if a handle falls off  

In the past, I have placed everything on wareboards, still in the leatherhard stage, and transported that way.  I have a Subaru outback, I was able to lay the seats down and accomodate all the wareboards.  I have also transported in low tubs with lids, placed some old towels and rags between things just to keep them from knocking together.  That way I could stack the tubs and get more in the car.  I prefer transporting things in leatherhard stage, rather than dry.  A bit more resilient, I guess.   I have a bumpy rural roads for part of my journey.   Good luck!

In the past, I have placed everything on wareboards, still in the leatherhard stage, and transported that way.  I have a Subaru outback, I was able to lay the seats down and accomodate all the wareboards.  I have also transported in low tubs with lids, placed some old towels and rags between things just to keep them from knocking together.  That way I could stack the tubs and get more in the car.  I prefer transporting things in leatherhard stage, rather than dry.  A bit more resilient, I guess.   I have a bumpy rural roads for part of my journey.   Good luck!

Another option would be to put the full 5kg batch into a pail with a lid that can be sealed on (twist type pail lid) then roll it and flip it around for 15 minutes or so. Leave the pail sit for a day for all the dust inside to settle then scoop it out just like any other dry material. If it sits for a while then roll it around again before using. I do smaller 500 gram test batches of base glazes like this all the time using a large freezer ziplock bag.