Babs

Think Hulk hit my method/ fix. I find when I know I wont get to clay I look at magx and ocasionally instagram. But when I get to shed I mosey about putting stuff back or checking if clay is ready to recycle I get back into losing the "other" life and get sorted. Too much external vIsuals knock me off the path.

Thanks Min, appreciate your time given.

Thanks Min, think you gave me a couple, one like chewing gum chunks , Chicklets or chiplets??and another with bigger

I have lost the recipe for a crawl glaze I used for some exhibition pieces. From memory Min gave a couple of recipes. I want biggish chunks

You may have to become nocturnal.

Sounds like you need to make a damp box. Plastic lidded tub with couple of inches of plaster in the bottom damped plaster and store your pots awaitIng handles or slip.

Wierd kiln with sitter at the bottom which ina top loader can run cooler. And overkill length of pyrometer, looks like that has come from a large gas kiln set up. If all else doesnt slow it down, nothing stopping you leaving the lid propped open and shutting it gradually, I noiced you biswuing to just over 900, or are you going on cones in sitter and at spyhole? Do you plug those bung holes after a time? How full do you stack your kiln?

Epsom salts flocculates . Is that what you are after. Soda ash and sodium silicate deflocs..just saying

Underglaze whilst containing clay may contain other stuff. Slip is clay usually to avoid what Russ is writing about, it is mixedvwith minimum water and lhquified by adding a defloc. Darvan or sodium silicate. It is plastered on when pot is leatherhard, spritz the pot beforehand, and scrape the excess off when dried enough not to smear. You can stain the white slip with stains, prob a cheaper way to go anyway. Not sur wht look you are goung for or what glaze you are putting on top but maybe if hooked on slip trailing, onglaze decor. The way to go? If underglaze can be applied with slip trailer, too "liquid " unless pepared, as Russ states, go for "thixotrophic" searches.

@Min Not having read your posts closely, would a firing 100deg/ hr to 600 6hrs Then slow through to 800°, say, 80° /hr 2hrs. 20mins ish with a soak then 150°/hr to 1000°C 1hr 20min which gives a more economical firing schedule. Just thinking of a compromise to lessen electricity usage

Ha, one bag of that clay would make a lot of slip, just saying!-) Trade routes for centuries throughout , would make that authentic, right? Handluggage, right. For your face mask beauty treatment.

That's where your notes would help, eh?¹

Are you usng body stains or glaze stain ,or are body stains a thing of the past?

Way back when, folk bisqued to c08. I would say that If all is good at C04 why would one change to 04. It would be more economical to stay at 06 unless there is a problem there. I do what Pres does above BUT if someone comes by wanting an absolutely exact replica, glazewise, of a pot they bought a few years ago, I don't promise because as a potter, I don't need the exact same of anything.. ... . I appreciate the folk who do this, wondering now if @ Mark saw any differences in the pots that came home last month.

One at a time and take copious notes and photos. Test tiles or shot sized cylinders may save a lot of kiln space

Lots of slipware artists in UK atm, some very generous with their methods, check them out.

For the slip to fire whiter, you need to apply it a lot thicker. Applying slip to dry pot could / will cause a bloating of the slip away from clay body on firing. Your stencils will stick to the clay at leatherhard stage , depending on what they are made of. You could try a white firing porcelainous body as a slip .Need to use sodium silicate and test a few tiles for thickness and fit.

Pardon?:-))

@Pyewackette , ditto.

Better imo to apply underglaze when leatherhard, then glaze when bonedry , dry and fire through to glaze maturity. Pots turn out just fine. @oldlady single fires her pots perhaps she will chip in here. Quite comon , really. I learned the orocess and came uo caling it Raw Glazing, there are other names around.

Post a photo of what you want discussed. Makes it easier.

Yes, you have a wide firing range clay so I would be surprized if fully vitrified at lower temp of range. You may think of changing your clay into the future. clay and glaze maturing at Cone 6 or 7 would be a more economic and popular firing range. Google Midfiring glazes. Bisque firing is low at 950degC ,go for Cone 06, 1000degC , becoming more popular, cone 04, 1040 deg C.

A friend made an interior shell which fitted smack against the bricks then filled with packing matterial , this was to stop the bricks juggling and possible dislodging of the elements, it also supported the lid from inside if, that makes sense..may be overkill for you but with the roads around here, and distances travelled, made perfect sense

The glaze and clay. The clay needs to vitrify if being used for liquids and domestic use. The glaze has to "fit" te clay. The glaze you have, if fired to the temp which matures your clay, would probably run off your pots and ruin your kiln shelves. Lots of other considerations but that is th basics

But as Callie said ,you will not get the uniformity of colour and it may drop to bottom of glaze bucket