Callie Beller Diesel

Hi and welcome!
Stains are fun to work with, especially for us dark clay users. And the reference chart you’ve already found is a very good reference is this section of Digitalfire. Tony identifies the stain by number, which is a good practice as there are 3 different numbered stains with the name “dark red” and they all have slightly different chemistry.Tony’s got examples of the Canary Yellow and Turquoise in a magnesium matte glaze base, so you can see how those 2 respond, at least.
Speaking of recipes: the second  link you’ve shared comes back as a “does not exist” error. If this is a recipe on your own page, make sure it’s published so we can see it. 
Zircopax won’t make the colours pastel: glaze colour theory doesn’t work the same as paint. If anything, it’ll make it brighter and more saturated, because more of the colour is reflected back to your eyes. 
 

Juried exhibitions or invitationals through galleries have never netted me any sales. They can be a nice ego rub, which has its own value, but that value isn’t monetary IME. 
Juried fairs or markets however, are a good thing. Juries can help put together a crowd of compatible artists and quality of work, which helps get it in front of people who are interested in such things. 

Hi and welcome!
Stains are fun to work with, especially for us dark clay users. And the reference chart you’ve already found is a very good reference is this section of Digitalfire. Tony identifies the stain by number, which is a good practice as there are 3 different numbered stains with the name “dark red” and they all have slightly different chemistry.Tony’s got examples of the Canary Yellow and Turquoise in a magnesium matte glaze base, so you can see how those 2 respond, at least.
Speaking of recipes: the second  link you’ve shared comes back as a “does not exist” error. If this is a recipe on your own page, make sure it’s published so we can see it. 
Zircopax won’t make the colours pastel: glaze colour theory doesn’t work the same as paint. If anything, it’ll make it brighter and more saturated, because more of the colour is reflected back to your eyes. 
 

I question the testing using the same piece for each subsequent heat increment as each cycle will stress/shock the glaze. I know that's the point but I agree with Hansen's take on this. I sometimes go 300F/ice water, then 315F/ice water then 325F/ice water. If a glaze doesn't stress craze from this I don't think it will with everyday normal (sane) usage. 450F to ice water IMHO is far too extreme! We are after all making ceramics, not metal bakeware. It does seem logical to soak the test piece for 12 hours after a reasonable stress/shock testing though.
edit: In the past I did try the boiling water / ice water testing, had a glaze that passed it so went ahead and glazed a load of pots with it which later went on to craze. I'm sticking with the oven/ice water test, greater difference in temp therefore a harsher test, either the one above or just 3 sets of samples at 315F. 

Hi and welcome!
Stains are fun to work with, especially for us dark clay users. And the reference chart you’ve already found is a very good reference is this section of Digitalfire. Tony identifies the stain by number, which is a good practice as there are 3 different numbered stains with the name “dark red” and they all have slightly different chemistry.Tony’s got examples of the Canary Yellow and Turquoise in a magnesium matte glaze base, so you can see how those 2 respond, at least.
Speaking of recipes: the second  link you’ve shared comes back as a “does not exist” error. If this is a recipe on your own page, make sure it’s published so we can see it. 
Zircopax won’t make the colours pastel: glaze colour theory doesn’t work the same as paint. If anything, it’ll make it brighter and more saturated, because more of the colour is reflected back to your eyes. 
 

Hi and welcome!
Stains are fun to work with, especially for us dark clay users. And the reference chart you’ve already found is a very good reference is this section of Digitalfire. Tony identifies the stain by number, which is a good practice as there are 3 different numbered stains with the name “dark red” and they all have slightly different chemistry.Tony’s got examples of the Canary Yellow and Turquoise in a magnesium matte glaze base, so you can see how those 2 respond, at least.
Speaking of recipes: the second  link you’ve shared comes back as a “does not exist” error. If this is a recipe on your own page, make sure it’s published so we can see it. 
Zircopax won’t make the colours pastel: glaze colour theory doesn’t work the same as paint. If anything, it’ll make it brighter and more saturated, because more of the colour is reflected back to your eyes. 
 

Hi and welcome!
Stains are fun to work with, especially for us dark clay users. And the reference chart you’ve already found is a very good reference is this section of Digitalfire. Tony identifies the stain by number, which is a good practice as there are 3 different numbered stains with the name “dark red” and they all have slightly different chemistry.Tony’s got examples of the Canary Yellow and Turquoise in a magnesium matte glaze base, so you can see how those 2 respond, at least.
Speaking of recipes: the second  link you’ve shared comes back as a “does not exist” error. If this is a recipe on your own page, make sure it’s published so we can see it. 
Zircopax won’t make the colours pastel: glaze colour theory doesn’t work the same as paint. If anything, it’ll make it brighter and more saturated, because more of the colour is reflected back to your eyes. 
 

You can for sure use wadding in an electric kiln to raise pots off a shelf or level shelves but I wouldn't use it on a glazed surface.
If you stack plates with wadding between unglazed areas on the plates chances are the plates will warp and deform at mid or highfire.
I don't know the price of setters compared to kiln shelves where you are but another option is to purchase small round kiln shelves and use those with short posts for setters. If you try this be careful to  line up posts to prevent cracking a kiln shelf when you stack them, make sure the posts line up.
 
When wadding is used in an atmospheric firing such as wood, salt or soda the vapours from the gasses in the kiln flash the pots but the areas where wadding is will resist the flashing.

I have a 28" kiln where shelves are 26" half diameter. I make plates that are about 12-14" for patens in communion sets. I can only get 3 to a layer in a regular stack, but by using a broken shelf under two, I can get 4 of these to a kiln shelf. Does not seem like much, but in a load it means a lot.
 
best,
Pres

While I’m one of the first people who will usually say it’s a bad idea to sell crazed functional ware, why are concerned about crazing on sculptural work? Sculptures don’t have the same durability demands placed on them as dishes. They might have their own durability demands if they’re outside, but I digress.

I know my customer, and he's a picky gallery owner.  And, I have an exclusive contract with him, so selling it retail is not an option.  My decision is to give the higher-fire a try; and if it doesn't work, give it to one of my relatives, who won't care if it isn't perfect.   Thanks to all of you who responded; you helped me make my decision.

While I’m one of the first people who will usually say it’s a bad idea to sell crazed functional ware, why are concerned about crazing on sculptural work? Sculptures don’t have the same durability demands placed on them as dishes. They might have their own durability demands if they’re outside, but I digress.

I spoke with my supplier last week, and they said that Plainsman has a 4 year supply IF no one hoards it. Mike at Ceramics Canada has said he won’t sell more than a 50 lb bag at a time unless you’ve been making your own clay body with it. 
So please don’t panic buy. Give everyone ample time to reformulate behind the scenes while still using their current stock.

While I’m one of the first people who will usually say it’s a bad idea to sell crazed functional ware, why are concerned about crazing on sculptural work? Sculptures don’t have the same durability demands placed on them as dishes. They might have their own durability demands if they’re outside, but I digress.

This thread is a continuation of this one started by @Mark C. regarding the addition of another K2O feldspar to replace Custer: Vardhman feldspar from India.
Chart comparing Vardhman with other potassium feldspars plus the analysis I received from Vardhman.

 
 
 

Hi and welcome!
Not a silly question at all. The good news is, hot won’t affect materials, but humidity might make a few things like soda ash or dolomite clump. Anything that is prone to this can be dried out on a baking sheet at about 175 F in a kiln or oven if it’s a nuisance. 

Hi and welcome!
Not a silly question at all. The good news is, hot won’t affect materials, but humidity might make a few things like soda ash or dolomite clump. Anything that is prone to this can be dried out on a baking sheet at about 175 F in a kiln or oven if it’s a nuisance. 

Hi and welcome!
Not a silly question at all. The good news is, hot won’t affect materials, but humidity might make a few things like soda ash or dolomite clump. Anything that is prone to this can be dried out on a baking sheet at about 175 F in a kiln or oven if it’s a nuisance. 

Ferric chloride isn’t necessary by any means. I haven’t done a whole lot of pit firing, but I did a couple back in college. You can get some lovely variations with terra sig on its own, especially if you’ve got a light and a dark colour to create contrast with.

I don’t know about other lustres, but gold and white gold are made of those actual materials, and don’t tarnish.
Some raku glazes that contain a lot of copper can be prone to reoxidizing over time. Usually folks will coat pieces like that with spray varnish or similar. I think it could work for Palladium. 

I don’t know about other lustres, but gold and white gold are made of those actual materials, and don’t tarnish.
Some raku glazes that contain a lot of copper can be prone to reoxidizing over time. Usually folks will coat pieces like that with spray varnish or similar. I think it could work for Palladium. 

I don’t know about other lustres, but gold and white gold are made of those actual materials, and don’t tarnish.
Some raku glazes that contain a lot of copper can be prone to reoxidizing over time. Usually folks will coat pieces like that with spray varnish or similar. I think it could work for Palladium. 

Many commercial underglazes just don't hold up at cone 10. They start to flux out and that causes them to behave poorly when you put a glaze over them. If you're just looking for black or blue, you'd probably be better off making your own underglaze or slip. If you do want to use commercial underglazes, each color will need to be tested to see how it holds up and cone 10 and with your clear glaze.

I'd go with the 325 unless it's really expensive compared to the other. The finer it is the easier it will enter the melt.

I wouldn't get your hopes up on that. We don't get iron staining from our water, and the iron impurities in my kaolins are guaranteed to be significantly higher than whatever might be in my water. Public testing results are under 0.03mg/l, so only trace amounts. We also know for a certainty that iron gives a yellow discolouration in oxidation whiteware bodies. There's a solid chance it is caused by something in my water, but I don't think iron makes sense as we'd see this in all bone china worldwide.

Creeped your insta, my god your slip looks delicious, only way to describe it haha! That pink slip just looks amazing, luminous.