Babs

Glad you told us you were downsizing and slowing down!!! 
Inspirational!

@Ben xyz you can apply the underglaze to your unfired pots, bisque, then glaze. No need to rebisque if do this, more economical.

I have been throwing chalice stems for many years, and have found a few skills that make it easier to throw a long narrow stem. In the case of a stem bottle with a bellied out bottom with a long neck, I would start by throwing a tall narrow cylinder with thicker walls than normal.  Then I use a curved throwing stick to belly out the bottom 3rd to the shape for the final vase. then I  use the thumb first finger webs to collar the stem narrower (faster speed) ,  when I cannot get narrower because of corkscrewing I use a long narrow throwing stick to pull the stem thinner and to remove the corkscrewing (slower speed). I don't allow the corkscrew to get extreme. I finish the shaping with a wooden spoon shaped rib and slow speed.
 
best,
Pres

Changing the mesh size of the silicon carbide apparently influences the appearance.

PS I suspect that refiring can only smooth/collapse/consolidate previously fired lava glazes, as all their fizz was expended in their first firing.
As the top half of the cylinders indicate thicker application of the glaze increases the foaming -- especially for finer grades of SiC.

Hi all, I have to chuckle a bit over this discussion, as it has never happened to me in the past, because I always used cone packs firing the kiln to the drop of the cones. At school I used sitter with the mini cones then bars. Always kept the cones for glazing on a glaze ware shelf, and kept the cones for bisque on a greenware Unfired ware) shelf. In the last two years, I have noticed several times that I had set the kiln to ^06 for a glaze firing, or ^6 for a bisque as I am now using a kiln controller with a touch screen that uses a scroll of cone numbers. . . if not careful, easy to do. Thank goodness I always double check everything before turning the kiln on or even once again after starting it up.
 
@Lainer, welcome to the forum. You will find that we are a pretty patient group, and happy to be of help. After all, the journey here is long and often has chuckles or hiccups!!
best,
Pres

Thanks,  @Callie Beller Diesel, and @Rae ReichI did put these outside as wanted to " get on with it, flipped asap but I feel that out in the sun would have stressed everything, then sitting on hardiplank woulf have sucked the foot extrriors also, oh well will see what the bisque fire did tomorrow a.m.

Perhaps this video, which you mentioned in an earlier posting.
http://mcgyakimono.blogspot.com/2010/08/making-teaware.html
PS Thanks for so many memorable postings.

Years ago, I had problems throwing tea cups and bowls off of the hump. After considerable frustration trying to fill an order for 2000 vessels I found a video of a Asian gentleman throwing off the hump. He separated a ball on the hump, and pulled a platter/pancake outward, then using both hands opposite sides-fingers underneath the platter he curled it up to make a cylinder. then continued to pull as normally we do. So looking in Hamer, I found a section about the clay particles and it showed a correct alignment that went from the flat bottom to curving in the corner to become the wall. Made sense to me and now all of my chalice bowls are thrown that way as were all of the honey jars I used to make and the lids for the honey jars.
best,
Pres
 

Thanks,  @Callie Beller Diesel, and @Rae ReichI did put these outside as wanted to " get on with it, flipped asap but I feel that out in the sun would have stressed everything, then sitting on hardiplank woulf have sucked the foot extrriors also, oh well will see what the bisque fire did tomorrow a.m.

I’m not one to throw a lot of teacups off the hump, but I do all my jar lids like that, and I never get s cracks. I make a shallow form with a large “foot” that gets trimmed into a knob, so there’s some similar principles at work I think. I’ve used this method on lots of fine toothed clay bodies, including B-mix  which can be notorious for this kind of thing. 
I try not to throw with too much water, or let it linger at all in the bottom. I don’t spend time going back and fort across the bottom of the pot, but for lids I do use a flexible metal rib to get the curve I want, and to remove all slip. I use a heat gun to stiffen up the rim enough that it won’t adhere to the jar gallery and let the pieces dry together for most small jars, but larger ones I’ll let stiffen up for a couple of hours before I put them together. Doing this makes them dry very evenly because of the trapped humidity on the inside of the jar. I almost never have to cover them overnight. Unless the weather is unusually dry, if I throw them sometime in the afternoon they’re ready to trim the next morning. 
For teacups, to replicate something similar I’d just flip them as soon as they’ll hold up to it, and let them dry upside down after trimming if the problem persists. 
When I trim them, they also get a good burnish on the knob side of the lid with a silicone rib at the end. This step is for aesthetics and might not contribute a lot to crack prevention, as I didn’t get them before I started doing it. But maybe worth a mention

Definitely trim the feet asap after throwing, as soon as the rims are firm enough. The longer you wait, the more chance of the foot’s clay  drying unevenly. Cover the cups with plastic if you have a bunch to do, keep the bases moist until trimming. 

Ok my reduced gas line to new kiln was unable to fire the new kiln and it shut off at 2100. I fired the other two kilns. Today I fired that Geil kiln off in 8.5 hours to cone 10. Paul Geil expalned the pipe size issue and my 1 inch flex is on the way from Supplyhouse.com.
I will see those pots on friday as that kiln is super insulated and is a two day cool like all my kilns now.

I have been a full timer makin g full time income on pottery money for most of my 50 years. I have had some other interests also which brought in income but its minor  (diving jobs ,underwater photo sales ,writing .My wife and I have had separate finances with a joint account to run the home/food. Clay can be a great gig but you have to be motivated more than most .

While ailing elements may still do the job, albeit more slowly, keep in mind that those firings are costing you more than with fresh elements. I once ran my e18T-3 until the elements would no longer reach cone 6, and the last firing cost me twice as much as the new elements. Also, elements that are used to the point of failure are generally more difficult to remove because they are deformed, and because they coils tend to expand in diameter as they wear out. In non-L&L kilns that means they'll do more damage to the element grooves during removal, and in L&L kilns it means they tend to break into small pieces as you remove them, therefore taking a lot longer to do the job. Although changing elements may be a miserable job, it's a lot easier to do it before the elements get really bad. Replace them once the resistance is 10% off from new, or the coils start to lay over on each other.

Oh no, Babs, don't fail on us now, we love you and need you. So, what did I ever write about elements and glazes... where do I begin...
A cursory review of the infamous Orton cone tables shows 3 columns of temperatures for each of the basic types of cone. The first column of temperatures is for a slow ramp over the last 2 hours into the final temperature, the middle column is for a medium speed ramp into the final temperature, and the third column is for a fast ramp into the final temperature. A slow ramp will bend the cone at a lower final temperature than a fast ramp, as a fast ramp must continue to a higher kiln temperature before the heatwork has penetrated the ceramic and the cone bends. Elements, as they wear out, produce less and less heat, which means the kiln will heat slower and slower (i.e., take longer and longer), particularly at the higher temperatures of mid-fire and high-fire clay bodies and glazes. A Bartlett or Orton kiln controller (Skutt controllers and the L&L DynaTrol are private label Bartletts, and the Paragon Sentry line is a private label Orton) that is programmed using a custom ramp-hold sequence to finish at a particular ramp rate to a particular temperature will continue to fire to the assigned temperature regardless of the actual ramp rate the elements can achieve in their weakened state (until the elements are so weak they just can't manage any increase in the kiln temperature, and then you get the dreaded E1 failure). Thus, if you are running a program with a set point of 1222℃ at 60℃/hour expecting it to produce a nice cone 6 per the Orton chart - but your elements are so worn that they can only manage 15℃/hour at the end - the kiln still will go to 1222℃ because that is what is programmed, but at the slower rate because that's all the kiln can do. Looking further in the Orton cone table, 1222℃ at 15℃/hour is cone 9, seriously overfired. (I'm just pulling these numbers from the table for the purpose of discussion, your studio practice and kiln condition may be different.)
All that said about custom ramp-hold programs, there is the other side of the Orton and Bartlett controllers - the cone-fire method. You enter a speed and a cone number via the keypad, and the controller knows what to do. The cone-fire method on both these controller types contains some hidden adaptive programming that monitors the actual ramp rate in the final segment in real time. If the kiln is lagging, the controller will adjust the set point down using a proprietary algorithm from Orton so that a proper bend of the cone will occur at an appropriately lower final temperature. Using the above example, if you have set a cone 6 medium speed firing, but the elements are so worn they can only manage 15℃/hour at the end, the controller will stop at 1185℃, 37 degrees early, for a perfectly bent cone 6. Similarly, if you set a fast firing and your elements are still sufficiently robust to accomplish the higher ramp rate, the controller will automatically proceed to a higher temperature.
Note that this adaptive behavior is only available in the cone-fire method. If you are using custom ramp-hold programming, you need to watch your cones and adjust your final set point to match the cone behavior. And when you install new elements that can actually maintain the ramp you set, you need to watch your cones and adjust your final set point to match the cone behavior. But alas, I repeat myself.
Keep calm and carry on. Especially carry on .

There's no reason to apply a clear glaze over a colored glaze unless you like how it alters the look of the colored glaze, and it will alter the look of the colored glaze, sometimes just a bit, but often quite a lot. The clear will not just sit on top of the colored glaze. Whenever you layer glazes, they mix and mingle, and often become runnier. To what degree all that happens depends entirely on the formula of the glazes, the thickness of the application of each glaze, and the order in which they are applied. Test, test, test.

My elements are failing, oy about half an hour to an hour longer. I have ordered new ones, over $1000 Aus. , an increase of over 60%
My least favourite job is element replacing followed closely by shelf grinding, more confident shelf grinder... Anyway , rising in the night to e there when kiln shuts down, I remembered reading sthing that @Dick White wrote re glazes maturing in a failing element situation. SO, sorry @oldlady, starting with a So, and plus I wanted to return to bed, I switched off about 1180 instead of going through to end.
I already ramp 80°C for final hour but on opening kiln, perfect, glazes loved it and no shelf drips from usual customers!!! Now toying with new elements, less electricity used with the present setting, albeit for just a while.

My elements are failing, oy about half an hour to an hour longer. I have ordered new ones, over $1000 Aus. , an increase of over 60%
My least favourite job is element replacing followed closely by shelf grinding, more confident shelf grinder... Anyway , rising in the night to e there when kiln shuts down, I remembered reading sthing that @Dick White wrote re glazes maturing in a failing element situation. SO, sorry @oldlady, starting with a So, and plus I wanted to return to bed, I switched off about 1180 instead of going through to end.
I already ramp 80°C for final hour but on opening kiln, perfect, glazes loved it and no shelf drips from usual customers!!! Now toying with new elements, less electricity used with the present setting, albeit for just a while.

Do you want/need the inside of the tube glazed?
Would some sort of bellows help you blow out the glaze -- e.g. an air-filed glaze trailer.
Pipe cleaners, or a more durable equivalent such as:
5 x Straw Cleaning Pipe Cleaners kit, Bristle Metal Pipe Cleaner for Drinking Straws, easy to brush and clean pipes, Pipe Cleaner Kit, Straw Cleaner Brush and kit for craft supplies
https://tinyurl.com/5ftme7n7

 

You could coat your ware with a white slip if yoy cant get a white body

Barium carbonate will only precipitate out soluble salts not the iron etc. impurities.  I would try every clay you can buy and see which one works the best.

You could coat your ware with a white slip if yoy cant get a white body

Similar look with Jeffrey Nichol's work, multiple layers of underglaze applied on top of the clay then sanded through.

First guess is two or more layers of different colored slips/underglazes on textured porcelain, then scraped, followed by sanding after bisque to really clean it up. Whatever she’s doing it’s marvelous. 

Yes , folk get that haloed effect when carving layered coloured slips in the sgraffitti technique.