Callie Beller Diesel

Very, very unlikely. Lowfire glazes melt about 2000 degrees. Fired on enameled porcelain is usually a mix of Frits and fires in the range of 1400 degrees. That’s probably the tip temperature of a propane torch, plus if cast iron - you need to heat the whole vessel. My thought is very very unlikely, removing to a restore shop possible but I am guessing replacement probably more economical.

Rutile is one of those materials that can make or break a glaze, it can vary a lot from batch to batch. I would try it out with a small test batch before using it in a large bucket of glaze. Colour difference might just be your new batch hasn't been calcined. 

The last time I changed clays, I had to change all of my glazes at the same time because I went from cone 10 to cone 6, in addition to going from a white clay to a much darker one.
I found working on darker clays in general was a shift in thinking about decoration. The darker clay is a much more active player, as opposed to a passive canvas I find. You really have no choice but to work with it, rather than trying to overcome it. Even in decoration styles where you’re covering the red clay with a white slip in order to add brighter colours, there’s still evidence of it.  For me, it was a whole mindset shift when it came to decorating. 

Those are pretty cool! Thanks for taking the time to demo @Min.

I designed this clay extruder to be flexible and easy-to-use it can be used on a tabletop   features:-   Hydraulic assisted (hydraulic jack is used to make the clay extrusion easy. Main clay chamber can be converted easily to accommodate small dies.   With a simple adjustment on the plunger will allows you to have a smaller clay chamber. I like to think of this as a clay saver because you are not filling the large chamber full of clay for a small die. I designed a small easy-to-use adapter to allow smaller dies, the adapter slides into the main clay chamber. It is easy to change over from the main chamber to the smaller chamber.     Larger die, I made an attachment which fits in the bottom of the main chamber this increases the diameter allowing you to use larger dies The main purpose of designing this system was to make it flexible and most of all easy to use. On the hydraulic side there is a sliding mechanism which helps to transfer maximum pressure evenly across the clay being extruded. The whole of this project was  printed in 3d  this allowed me to test and find the best way to achieve an adaptable easy-to-use extruder.   The finished project was a combination of stainless steel and 3D printed components       I designed this clay extruder to be flexible and easy-to-use it can be used on a tabletop   features:-   Hydraulic assisted (hydraulic jack is used to make the clay extrusion easy. Main clay chamber can be converted easily to accommodate small dies.   With a simple adjustment on the plunger will allows you to have a smaller clay chamber. I like to think of this as a clay saver because you are not filling the large chamber full of clay for a small die. I designed a small easy-to-use adapter to allow smaller dies, the adapter slides into the main clay chamber. It is easy to change over from the main chamber to the smaller chamber.     Larger die, I made an attachment which fits in the bottom of the main chamber this increases the diameter allowing you to use larger dies The main purpose of designing this system was to make it flexible and most of all easy to use. On the hydraulic side there is a sliding mechanism which helps to transfer maximum pressure evenly across the clay being extruded. The whole of this project was  printed in 3d  this allowed me to test and find the best way to achieve an adaptable easy-to-use extruder.   The finished project was a combination of stainless steel and 3D printed components       Main clay cylinder Is made from a piece of durable Heavy duty long lasting piping 2 Orange locating rings .     There are stainless steel locating pins which secure the cylinder to the base board   Below the base board you can attach the expansion box to the stainless steel pins which are easily fixed in place with wing nutsins   Metalwork Steel tubing throughout painted with rust presenter Zink coating with Matt black paint Red paint has been applied to the main plunger Connecting fittings stainless steel bearings and shaft stainless steel link pins with stainless steel locking collars galvanised fittings have also been used in this project         One mounting board which slides into the steel metal frame for easy removal and cleaning     As with any extruder use soft clay .Using hard clay on any extruder may damage your equipment always make sure the clay you use is suitable for the type of extruder you use   After making this extruder I decided to make a clay hardness instrument tool   Please go back to the main menu and click on the link clay hardness tool for more information    

This thread is bounced off this one that was discussing extruders then went off on a bit of a tangent. I brought up the subject of thrown handles as another alternative for @Pyewackette . (other options such as cast, press molded etc in the linked thread also)
Super quick demo photos below, hope this helps Pye.
Throw a donut on a batt, for mug handles that need to be straight use as big a batt as you have or throw on the wheelhead if it's wider than your batts. Center the clay then open it up right down to the batt.  While throwing the donut press down firmly on the clay as you are pulling it outwards from center. 
Clean up the edges of the donut and shape into a dome top, flat, ridged, whatever profile you need. Can use  rib made from an old credit/gift card to make identical profiles for the donuts if making a lot of one style that need to be the same.
Cut into the donut with a pintool then slowly rotate the wheel to cut the donut off.
At this point you can either let the donut set up a bit or work it now. Cut off a section and either hold it up and smooth the  cut edge or let the sections dry a little then lay them facedown and smooth the cut edge. 
For mug handles pull them straight and let them hang until they are dry enough to attach. 
   
   

I don’t know how much Kanthal wire will add structural integrity to a fired sculpture, but if it’s a matter of building a figure around an armature, as long as the finished piece will support itself you should be ok to just leave it in place. If you want a piece such as a bird to stand on wire feet, you’d be better off adding the wire after the firing as a cold process, as it may get brittle after firing to those temps.
Kanthal isn’t the first wire choice I’d use for large sculptures though. 1 lb of Kanthal runs about $70 CDN.
Most figurative sculptors that I’ve seen use additive methods and wire armatures will cut the sculptures apart and remove the armature, hollow out some of the excess clay and put it back together. 

If you’re getting clay in the dryer, the items aren’t coming clean enough in the wash. I would venture the culprit isn’t so much the soap you’re using as the amount of soap, and possibly the amount of water. 
If you use too much deterg, it can build up in the cloths/towels, especially if you have a high efficiency machine. If you do have an HE, make sure you’re using an HE detergent, and don’t use the provided cap to measure it. The caps are too large, and encourage over-use of product. Get a shot glass or a 1/4 cup measuring scoop. Excess detergent builds up and traps clay dust, as does any use of fabric softeners, dryer sheets or those scent bead things. If you’re using any of those, stop. They’re unnecessary for studio towels. If static is a concern, the wool dryer balls are great!
Especially if you have a more water efficient washer, you may have to pre rinse items in a bucket to get the largest bits off first, and use the heaviest duty cycle available. You may want to try giving it an extra rinse, or even running the cycle twice if you’re still having dusty leftovers.
If you’re using a front loading washer, this may not be the best thing for this job. They’re great for protecting clothes, but they weren’t designed with clay studio level of dirt in mind. 
 If you have been using fabric softener or dryer sheets, you might want to do a laundry strip to remove the buildup. Try not to have to do this often, because it is hard on fabric. Not as hard as bleach, but it’s still not an every week kind of thing, 
Fill a bathtub with the hottest water you can, or use a top loading washer using a hot water cycle. Dissolve in  1/2 cup borax, 1/2 cup washing soda and 1/2 the usual measure of your existing laundry detergent. Add the cloths and soak for 4-8 hours. Use the longer time if you have hard water, less if you have soft. After this, the water will be shockingly gross! If you’re using a bathtub, drain the water and give everything a passing rinse. Run through your regular washer without adding any additional detergent. If you’re using a top loader, just close the lid and let the heaviest duty cycle run. 

Sellling 10k worth of pots is very doable. And if you’re running a business, purchasing equipment is an expense. 

We have seen a lot of folks here and on FB try some of the small, low priced wheels from that South American River website. Some people really love them and have had good experiences, but we’ve seen several questions here about them having electrical issues. Which wheel to get depends on how you intend to work, and how you feel about things like right to repair.
The typical complaints about the ‘zon wheels are  switches either won’t turn on or turn off fully without unplugging the wheel, or the “foot” pedals don’t have variable speeds for long. I have seen some reports of them being difficult or impossible to repair due to poor construction.
I put foot in quotes because they’re too small for an adult to sit at comfortably, and they’re better used on a low table top. Not necessarily a bad thing, just worth nothing. They don’t really have the capacity to handle more than 2 kg of clay. Again, not a bad thing if you only want to make a few little things. 
If your intention is to work any form of long term, buy the wheel you’ll want to use in 5 years. Any of the major brands that have been around forever tend to be a one time purchase and are repairable. They will also have some resale value if you choose to not continue.
On clay: 
What clay is best is like asking what food is best. It’s a matter of personal taste. About the only recommendation I’d have is don’t start with porcelain if you’ve never used clay before. Think a little bit about the kind of work you’d like to make, whether it’s brightly painted earthenware, earthy cone 10 stoneware dishes or cone 6 that splits the difference. Whichever clay you choose, if you’re making functional pottery you should fire the clay to its maximum recommended temperature so it isn’t porous, and make sure the glazes you use fire to that top temp.

Thanks for your input.  I think I will just put pieces on a back shelf for now. Then I might try the "rough look" that Babs suggested.  For now I will hustle and try to throw some new pieces. If I am lucky I can take new stuff out of the kiln the day of the show.

Well I finally got around to measuring this today and I was WAY off.  It was 21" tall.  To be fair, that is more than 1/3rd of my height!  At any rate I smooshed it and discovered a couple of things, firstly the coiled sections were much more even than I would have thought but very thick at 1/2".  And the bottom thrown part was also very even, but only a scosh more than 1/4".  Also as I pulled it apart it came apart along the coils.  Not sure if that means anything.
The Armadillo order has yet to arrive but when it does get here I plan to score some light stoneware and try again.  I COULD use the studio clay but ... all the new clays (not counting the Raku) so far have been so much easier and more pleasant to work with.  Looking forward to doing it again only better LOL!

It’s called G-Floor, a heavy duty vinyl flooring meant for garages. It has held up very well at the 10 year mark. The only deterioration is some minor buckling around the legs of the kilns, I guess from the heat of the kilns. But overall I am very happy with it. 

Can't give much advice, other than - buy a real wheel from a pottery supply company - do not buy a "toy" wheel - try Scarva who are (I believe) based on your island.  If looking at second hand, try before your buy, make sure the wheel runs and accelerates smoothly, starts and stops when asked.
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I do both Etsy and my own website. I built my website in Janury-February 2023 and still don't get much traffic and sales. Now I decided to invest in SEO. 
Etsy brings more sales for sure. But I hope to bring more traffic to my site with the SEO. I hired an SEO specialist through a freelance site upwork.com.
I use Squarespace for my website, here is a link -(removed by mod per TOU)
It was easy to build and upload new products. 

Issac Button is an absolute beast! Love it.
I’d be inclined to use a modification of Mr. Button’s glaze method on the inside. Instead of swirling the glaze with a cup, get a soft squeeze bottle, like the kind you’d fill with ketchup or mustard, and put the pot on a banding wheel or slowly turning wheel. Squirt the glaze flow at the widest part of the inside of the shoulder as the wheel is turning, and let it flow down, and pour out any excess. When you dip the outside top quarter, roll the pot slightly to make sure the glaze gets the inside bit that’s still bare. 

I agree with everyone above: most low volume creators shouldn’t have major dust risks, but working as dust free as possible is just good practice.
If the piece is still green, an old trick is to wet down any canvas surface you work on, and work the pieces in a figure 8 over it to get rid of any wobbles in the base. If you don’t work on a canvas surface (there’s better things imo), something like a smooth cement surface will work. And be easier to clean. 

Adjusting bottled glazes is tricky, because in addition to not knowing what’s in the recipe to start with, they add gums and brushing agents that change how a glaze dries. Adding material can affect how well those things work, because you’re diluting them. Some commercial dry glazes will have them, some won’t. Usually if a manufacturer doesn’t recommend sieving or recommends minimal mixing, or specifies the amount of water to use, there’s some suspension agents or gum of some kind. 
This is not me trying to dissuade you, it’s only things to keep in mind as you test. All things are possible if you have the time and energy to figure it out. It will just be easier to adjust a dry base glaze from Plainsman (who provides the recipes of their base glazes) than a bottle of Mayco. 

I agree with everyone above: most low volume creators shouldn’t have major dust risks, but working as dust free as possible is just good practice.
If the piece is still green, an old trick is to wet down any canvas surface you work on, and work the pieces in a figure 8 over it to get rid of any wobbles in the base. If you don’t work on a canvas surface (there’s better things imo), something like a smooth cement surface will work. And be easier to clean. 

Great to read you are still experimenting!!
Thinking of Euan Craig,  I think he lays actual rice stalks onto his platters before his firing https://www.instagram.com/p/CETiWhODEv4/?igshid=NTc4MTIwNjQ2YQ==

Pure speculation.
As pH meters are so cheap (while presumably still functional) might it be worthwhile monitoring the pH of "unstable" glazes with slightly soluble components. Hoping it gives an early clue about when magnesium additions are required.
e.g. Digital pH Tester Pen Water Pool Hydroponics Drinking LCD Test Pocket Electric
https://tinyurl.com/4pd8wn4m
PS I've no idea what range of pH covers the flocculation process. The buffering effect of the clay could make is very small.

And yet another suggestion: metal window screen.
Lay a piece of metal window screen, presumably aluminum?, on a flat surface and gently move the unfired pot back and forth. When you're done simply lift the screen and gently sponge away the dust. If the screen becomes clogged simply pull it in opposite directions and the particles fall out.
This works especially well when wanting to get a flat surface on a plaster form but I also use it with pots occasionally.

This!   I noticed many people at the new studio I am at, many are sanding pieces with expensive diamond pads as a matter of routine.  i was taught to fix roughness early on,     sanding  finished pieces is a last effort 

99% Dipping, with some squirt bottle use on pots of a certain size. I don’t have the facilities or equipment to spray, and dipping gets a quick, easy application. I make enough stuff that brushing would be very impractical.
 

99% Dipping, with some squirt bottle use on pots of a certain size. I don’t have the facilities or equipment to spray, and dipping gets a quick, easy application. I make enough stuff that brushing would be very impractical.