Roberta12

@Roberta12
As they say, check anywhere lead can be so walls, blinds, surfaces kids can get their mouth on. For me it’s inside lid and sidewalls. 3m instant test instructions here https://multimedia.3m.com/mws/media/815979O/3mtm-leadchecktm-tri-fold-brochure-08-28-2012.pdf

I went looking to see if I could find some current information on lead contamination in used pottery kilns and if it was possible to remediate. I couldn’t find a lot of information around lead in hobby pottery in general that was less than 10 years old. (If someone else has better search results than I do, please chime in!) I found one mention in a 20 year old Clayart thread that said you could fire the kiln with a bowl of neph sye in it to absorb lead fumes and you’d be fine, but there was no  logic presented, or info on how much lead could be removed by this method. The only reason I mention it at all is because both Roy and Hesselbreth commented in that thread, and neither refuted the statement. But again,  I have to stress it was written before 2013, when the FDA decided that no levels of lead are safe. 
There’s a number of sources though that state lead contamination from a kiln is indeed a possibility, although most references were to folk pottery, or ware produced in countries where lead use still exists. 
Lead on your pots  would be fairly easy to check for, if anyone is reading this and is suddenly concerned about their Craigslist kiln. Many readily available lead tests are designed for things like dishes. 

Make sure to explain that the official name for kiln brick is “ceramic refractory brick” or “fire brick” and often called “soft brick” and is nothing similar to the masonry bricks that houses are built with. I would refer to it as “soft brick” as much as possible (hehe) and explain that it can be cut with a hand saw. 
In fact, I think this is a winning argument for why the Skutts should be replaced with L&Ls, by explaining and showing that the hard ceramic element holders have protected the soft brick in your existing L&Ls, and thus the L&L kilns are a much longer term investment that will not need to be replaced for another generation. If this means you can get the Skutts replaced but not the older L&Ls, that’s still a win for your program!
(Edit to add: one of my L&L E23Ts is also 20 years old, and gets fired about 70 times/year. I have zero interest in replacing it, because “Dr. Evil” is still in impeccable shape. The outside is a bit corroded, but the inside is pristine.)

I've seen kilns that were destroyed in 3 years and less than 200 firings, and I've seen kilns (like one of mine) that have gone more than 2,000 firings without changing a single brick. It all depends on how they're cared for and how they're constructed.
Personally, I don't like using kilns specifically for bisque or glaze because every time you change the elements you do damage to the bricks (in non-L&L kilns), and the glaze kiln bricks don't last as long because they're always firing really hot (in any brand). So the glaze kilns get really beat up and the bisque kilns last forever. I think if you're doing both bisque and glaze in all the kilns you'll get a better lifespan from all the kilns as a whole, and won't have to live with half your kilns being crappy for years and years. I get being able to fit the smaller bisque kiln load into the bigger glaze kiln, but I would consider having two or three e28T-3 and one or two e23T-3 and using them all for both types of firings. If you load the big kilns with bisque you can reduce the total number of loads needed.
The L&L e28T-3 kilns will need a 50 amp breaker, whereas your current Skutt 1227 kilns only need a 40 amp breaker, so take a look at your electrical panel and see if that's doable. In the long run it'll be well worth the cost to upgrade the wiring for the cone 10 kilns, but make sure your center is willing to do that.
Get the quad element upgrade for any kilns you're using for glaze. It'll pay for itself.
The Genesis 2.0 controller is now standard on all L&L kilns!

The presence of lead in an older kiln is definitely an issue, as it can be dangerous to your health if you are exposed to it for an extended period of time. Lead is a heavy metal, and it can accumulate in the body over time, leading to serious health issues. It is also toxic to the environment, so it should be handled with care. For this reason, it is important to ensure that any kiln you are considering purchasing is tested for lead before you purchase it. If the kiln tests positive for lead, it is best to avoid it and look for a different kiln. It is also a good idea to make sure that any kiln you use is properly ventilated to reduce your exposure to lead and other toxins.

my daughter sells her handmade cards at a monthly sale near us, and i give her my seconds to sell at low prices.  she just loves talking to the people who come to the event, and the more stuff she has, the better for her.  it works really well.

No regrets about this! I’m at at the point where I’ve made so many, I just don’t have physical space to keep them.  I do dislike it when there’s voids in a display, but that just means I have to make something else to fill it. I love knowing that pieces have new lives in other homes. Usually my “space filler” pieces are ones that I’m pretty proud of, and I want someone else to like it too.

Over time I realized that the idea that someone would enjoy something I made was the feel good I enjoyed most. So sold or given as a gift I am addicted -zero regrets. Now finding out something is resold at a profit ………… that definitely puts a damper on the feel good part.

i thought the huge, black platter with a pink swirl would be my most visible piece at a show back in the 90s.   visibility counts in a 2 day show where there are many crafts available for the buyers. 
when i set it up on the top shelf, i turned around to get another pot and saw a man about 50 feet away look at it and begin to walk fast toward me.   he bought it before i had a chance for a photo.  fortunately, he set the tone for that event and i sold most of my work.

Last year's Open Studio event, to my eye, a medium jar was the "best of show."
A well-known watercolor artist (well known locally) visiting my Studio, was reaching for that jar before finishing her first sweep of the main display with her eyes.
"Oh, I'm taking this one."
The following weekend, well-known local potters (I believe they do more volume than any other Los Osos potters...) visiting my Studio reached for the teapot set right away.
"I want this."
It was, my opinion, the "best of show" at that point.
I did feel bit sorry to see them go; on the other hand, I still feel a glow that someone else saw the same "best pot" that I was seeing.
 

Question of the week. 

QOTW??

I have used white transfers (the rice paper kind) on dark brown clay without an issue.  I glazed with clear over all and it was just fine.  The white transfers stayed white.
Roberta

@Ben xyz ++ for test tiles.  That is truly the only way you will know which method gives you what you are looking for.  All of your suggested methods should work, but will they achieve your vision?  I have used all of your ideas on porcelain, buff, white stoneware and dark brown clay.  I have my preferences and you will have yours! 
Post some pics when you get things fired!  Inquiring minds want to see!
@Min I am going to try the grey under red!  great info.
Roberta

Sounds like a great QOTW!
 

This problem seems oddly familiar to me. I had 2 Paragon kilns that the ever fatal error codes; and I likewise replaced thermocouple and elements of one of the two. After replacing both an one: the beloved error code again. So I took the thermocouple wiring block apart again and restrung the thermocouple wires again- another TC fail. Took it apart again; this time while I was mounting the terminal block back on the kiln; I noticed the thermocouple wires compressed, and touched each other. I took it apart again, this time I put some insulating fiber between the thermocouple wires and gently held them apart while mounting the terminal block back on the kiln wall…. No more TC error after that.
Tom

You could try it but be prepared for warping or cracking,  the lowest  temperature on my oven is 180  that is awfully hot for clay.  I took a summer throwing class we would take our pots out and set them in the shade out of the wind.  It was 105 out that temperature was pushing the edge of the thrown pots tolerance.   Denice
 

For slowing, I'm still using 2.5 quart, 2 gallon, and 5 gallon (for big wares!) containers inverted over each ware.
A periodic misting with a spray bottle slows things down - indefinitely, if desired, just watch for mold!
Putting all the ware to be kept moist in a damp box can be more efficient, however, I'll typically have less than a dozen pieces in damp state - with the individual approach, I can bring each along to "ready to trim" state separately.

Agree with Tom.  Air movement is crucial.  But like @Hulk  I am trying to slow it down at times.  I have very low humidity where I live.  A friend of mind in L.A. is having problems getting anything to dry at all right now.  Lot of rain.    She is resorting to fans.  
Roberta

The utility cabinet I bought doesn't cost much here but you may not find one where you live.   The college I went to made up a  wooden shelf unit with slat shelves,  they would wrap it in heavy painters plastic  put a fan and light bulb in in.  I wouldn't leave the light bulb on unattended,  I just had a lampshade frame break and it fell against small low wattage bulb and melted.    Denice

Another trick is to use a dehumidifier in your workspace. Fans create directional air movement, and can cause uneven drying. Denise gave a great workaround, but if you can’t find a suitable cabinet, dehumidifiers will take care of the entire room. Earthenware and terra cotta clays aren’t usually bothered too much by uneven drying, but if you start making larger/wider pieces or decide to try some porcelain, it’s something to keep in the back of your mind. 

When my sister worked for Dupont in the paint research dept they actually used a gray primer under red to make the red pop more. 

I would go with E.
E - make a few test tiles and see which you prefer.
I would probably start with trying the white underglaze on greenware then  red underglaze on top of that then bisque then glaze. (make sure each layer is dry before putting on the next) Is the underglaze compatible with the clear glaze? At the same time I would try the other options and see what happens. I'ld wrap up the piece (or put it in a ziploc if it fits) and wait until your tests are done. I know it can be tempting to just go for it but test tiles really are a good idea.

The Amaco videos are very worthwhile.  I located an image on a commercial rubber stamp that I wanted on holiday decorations, and stamped that carefully into my fresh slab.  After bisque firing, I did sort of Mishima with glaze and a tiny brush into the impressed image.  I did this with convenient sloppiness, then after drying, cleaned it up by scraping and cloth rubbing, then paint and tip-in background color. I found that it was difficult to gauge stamp pressure and depth with the wood block mounted stamp, so I transfer molded the stamp twice: soft urethane negative from the stamp, then hard urethane positive from that, then trim to an outline that allows better visibility and feel when stamping.  After a couple of practice tries, I was astounded to discover the fine detail that was in the original stamp and carried through the transfer mold steps, then into the clay, that was opened up and delineated by careful scraping, and showed clearly in the final fired image.  Stamp was sold as 1.75 inch: small with fine details.
I added a photo of one.  Lighting here is tricky: the color is impressed, not raised.  Original commercial rubber stamp design is copyright Snigglesloth.
 

Great videos!  I use saran wrap  for ornaments and jewelry that I have printed on,  but never thought to use it like she does on larger pieces.