Rae Reich

As much of the density or mass in a firing comes from the shelves themselves it's often helpful to put the taller pots on the bottom shelf, shorter pots and more shelves in the middle of the kiln and tall again on the top shelf. (assuming it has with just one thermocouple or is a manual kiln)

Not knowing the clay you use, or the kiln, here's my bisque in °C.
And, Callie the expert, so listen to her.
If bisqueware dry and of good thickness i.e not thick sculpted pieces
50°C / hr to 100°C
100°C/hr to 600°C
150°C/hr to 1000°C 
Soak for 10 minutes.
Target is C06. 
I pack bottom shelf with taller stuff, rest of kiln is tumble packed. Soak at end for me is to allow kiln temp to even out and tumble stacked ware to get to the cone target. 
Seems brutal but works

That’s unfortunate. It will be a question of trial and error to find a commercial clear with low iron contamination to rid the glaze of the yellow tinge. At least from the info supplied in the link above you know which ones won’t be acceptable. Is mixing and testing your own glaze an option?

I am using Standard low fire slip and Duncan dipping clear glaze. Till that time I fired ;
bisque cone 04 glaze cone 05
bisque cone 04 glaze cone 06
bisque cone 05 glaze cone 05 
And all the results : my pieces are yellow even though my bisque is white before glaze firing. I have to make them clear,transparent and dipping glaze. And I really want them to be whiter. I have no choice to use brush or white glaze cause I make decorations on my cups that they should be seen and I have to be produce a lot and use dipping to be quicker. 
I use bamometer and my glaze is 35 bome.
 
You can understand from the pictures that I have another problem with the bottoms of my cups that are like overburn and come more yellow.
I am posting pictures. 
What am I doing wrong? 
 
 
 
 

Brilliant answer, exactly what I was looking for.  Thank you
I did have my suspicions that a flux would be needed. I really don't mind spending time experimenting but working with gold has obvious drawbacks. I have allocated a few grams of scrap for this purpose.
I've ordered Greg Daly's book so this will be a good starting point. Hopefully I'll have some positive feedback in the coming weeks.
Sounds like you've been down this particular rabbit hole yourself with success?

I wasn't successful getting the gold to reduce with just pine resin, if you buy Greg Daly's book "lustre", he details making it from elemental sulfur and gold chloride. This works well.  Commercial lustres using pine resin thinned with toluene use a different gold salt, I'm guessing that's the reason they work.  I think the compound is a chlorohexanoic salt of gold. 
You'll also need a bit of bismuth in there to act as a flux bridging the gold and glaze.  
I had some luck making a silver lustre by making silver soap.  Silver decanoate.  But it was difficult to dissolve in almost everything so it was a pain to apply.  Was conductive though and I made a few touch lamps using it.  Also had success doing a similar thing with copper.

Some plausible-looking advice on techniques and H&S referenced in:
Historically there have been two sorts of lustres: reduction lustres and resinate lustres. Your comments seem to apply more to the reduction-fired reduction lustres. While tho commercial oxidation fired products are resinate lustres.
Ever wondered why solder is often sold with a rosin flux running through it? When you apply it to the joint the hot rosin reacts with any oxide on the copper surfaces to form copper resinate.
The resinates lustres are made by reacting metal oxides or salts with rosin and dissolving the resinate in  or another solvent. With luck you finish up with quite a high concentration of metal resinate  in the solvent. When these are fired they decompose leaving a thin metal film (and often some pretty nasty fumes).
As Min said, do try and get in touch with @liambesaw if you can, but he hasn't visited the here since  2022.
A friend used to run a garage industry making resinates and had very strong reservations about many of the solvents used in commercial lustres, sticking to - AFAIK - linseed oil.
Manufacture a gold lustre is fairly briefly covered in "Pottery Decorating" by R. Hainbach.  Which involves mixing "bright gold" with a bismuth lustre. Bright gold apparently containing resinates of gold and rhodium (and also possibly bismuth, uranium, chromium and iron?). Although a simpler wet process is also described for producing gold resinate from gold trichloride and resin-soap.
... probably much better to find out what people do nowadays.
PS The book seems fairly expensive at the moment, change this search to your location and currency.
https://tinyurl.com/2d783cv8
 

Try sending @liambesawa pm asking about this. He hasn’t been on the forum for ages but when he was he was making lustres. 

Thanks @Babs! My bread game drastically improved during Covid lockdown. My 2 teenage boys and I were home every day for 3 months, and we went through 3 loaves a week. I figured out a lot with all that practice.

Now sounding like, in my brain, " what's on your table" topic at start of Covid lockdowns.
Amazing bread, Neil. Wouldn't last long around here

@Biglou13I started seriously making sourdough bread 6 weeks ago. Sooooo much fun.  I took a class and learned what I had been doing wrong!  I use cast iron skillets, aka dutch oven.  I would recommend that as well.  

Hi @Biglou13 A flameware body would be your best bet for this. 500F is pretty hot for a clay dish, especially since you'll be dropping wet, room temp dough onto a hot, flat surface. It's a lot to ask of any clay body besides flameware. The other option is to just buy a cheap cast iron dutch oven on Amazon. It works great, and you don't have to worry about it cracking. My dutch oven is preheating in my oven as I type this! 
My loaf from last week. 25% whole wheat, 80% hydration:

Support for the pyroplastic clay seems the name of the game. 

The sharing that goes on here is even more valuable than I had realized.  I am the lucky pottery who met up with Mark in St. Louis a week ago.  I knew I had absorbed a lot of his tricks of the trade from this site, but I did not fully realize how much.  As we talked for an hour or two in my booth, almost every aspect of my pottery has some mark of his influence.  From the way I wax my pots to the design of my display shelves - Mark's influence and generosity are  everywhere.  Helpful potters like Mark and Neil E. deserve a lot more credit than they get. 

So I am testing some new liner glazes today to look for one to replace my go to I have used for 40+ years. I opened my glaze book and found one TRJ emailed back in the day from this site, also wishing me a Merry Christmas . For those that do not recall him he was another professional full timer like me from Canada. After a few years of back and forth  emails we were going to meet at an upcoming NCECA but alas he got sick and passed away. His posts live on here just like mine will when I'm gone. He shared info freely as many do on this site. I mixed up his liner cone 10 reduction glaze  today and will test it in coming week. It was good today thinking about a man I never met and what may have been. Now I may be using his liner glaze on a zillon pots if I like it. Thanks  TOM akaTRJ
On that note I did meet another Potter last week at a Crafts Fair in Saint Louis and we did a mug exchange . I was there twofold to visit with my wifes sister who moved 1 hour south of STL  last year. Also we drove south 3 hours to see the eclipse which was fabulous with clear skies our second one in  the past 7 years. It was a joy to meet another potter from this site and share stories and ideas.I had my  coffee in his copper red mug this morning.Its a small planet really.

https://insight-live.com/insight/share.php?z=7WnpT9vC3b

This has some great info on your glaze, as well as multiple revisions meant to solve known issues.

@Bam2015One technique that has helped me is to lightly rub a finger over the underglazed areas, after you have brushed/dipped/sprayed your satin or glossy glaze.  I think it is to smooth it out and make sure the glaze covers the ug.  

Just to point out that your approximation does not allow for the volume occupied by the clay particles. That's what Brongniart's formula addresses.

I think you may be right. Where I live, it's all red clay, rocks, and tree roots, but I did try to dig some that was less organic. I've followed Vince's method for all my other sigs, but there are so many methods out there that are more "shake it up and let it settle and pour off." Maybe I should give up some control.
I don't know what color it will fire to, but here's a bone dry mini-bowl with Redart sig on the left (didn't stir it up very well), and ditch sig on the right. Hard to see the shine in the photo, but it does buff up nicely. I had some of it evaporating in a shallow pan with the dehumidifier on.
 

I've been there.  and learned to ignore the "official methods" and simply crushed the dry clay as small as possible using a hammer and kitchen screen utensils to get rid of the "big" rocks.  
Mix the clay with water to make a slurry that is somewhere between the buttermilk and the milk level (or a little less).  Let the mixture set for a while to let the heavy particles to sink, and then pour the liquid into a separate container which will contain most of the sig.  Stir up the original container again and let it set a while, and repeat pouring off the water to get remaining sig. Yes, this is not the official method, but it has worked just fine for the clay I take from my ponds and roads to them.  I have also used that same method for making sig from scrap commerical clay bodies. 
If you are able to get wet clay from the backyard just start with that; add water and mix well; if you have sand, it will sink along with the heavy particles.  I have a pond that collects fine clay every time there is a decent rain. After the rain there will be a thin layer of fine clay above the big paricles.  My first round on terra-sigillata I followed the "official" method; it worked ok.  After noting what was happening in the ponds and just getting a bucket of pond mud and water I begin to make my own method which has worked just as good as the textbook. 
The best "official" recipe I have found (beyond my own) is Vince Pitelka's version:
http://www.vincepitelka.com/wp-content/uploads/2022/10/Super-Refined-Terra-Sig.pdf   
/*/

I think the usual form of Brongniart's formula will give you answer. 

This often uses a value of  2.6 for  the density of "typical glaze solids". Which seems close to the density of clay particles.
Particle Density
https://link.springer.com/referenceworkentry/10.1007/978-1-4020-3995-9_406
Densities of clay minerals range from 2 to 3, but many are near 2.65 g cm
PS An old but good ref for t-sig is
Super-Refined Terra Sigillata
https://digitalfire.com/article/super-refined+terra+sigillata
... but note that it doesn't mention the more modern deflocculants.
... the use of hydrometers has been replaced by weighing an empty and full calibrated syringe in many glaze applications
... it mentions several ways of concentrating thin t-sig, eg  As another option, use a crock pot set on medium heat with the lid off. In either case, the rate of drying will depend on the atmospheric humidity and the mount of heat applied. It will take some experimentation to learn the ideal conditions. You may find a cheap crock pot at your local thrift shop.
PPS Two threads on the use of  Brongniart's formula for glazes "in the bucket". Including references to the formula and a calculator.

I feel that whatever works for you with slip use that . If it works use it. I will add that in my clay body and calc class back in collage we tested all types of attachments (long before magic water ) and what was leaned that scoring and slip make for stronger bonds. It's a night and day difference  so score and slip . If you are not that you are making weaker bonds.

Oh, that is a lovely green! It looks enough matte, though, to use a liner glaze with it on food surfaces. A white with tin in it could blush nicely at the lip of a vessel. (Use a liner because a matte glaze doesn’t clean as well as a gloss and can harbor bacteria over time, not to save the user from leaching-chrome exposure.)
I think you’re right that the cobalt, besides modifying the chrome, also helps to keep it from ‘browning’ or to rescue a brown by sending it toward blue - like the  little-bit-of-cobalt “cheat” in copper reds that rescues an uneven reduction red from ‘snot green or bleached white to soft blue (I learned this from a Tom Coleman student).

Actually the vinyl is for protecting your paint and cleans up easily,  certain clays can stain your paint.  If you are renting you would have to repaint.   My first studio was a small folding top and chair,  bowl for water and a few tools.  I made mostly pinch and coil pots not enough room for slabs.  I eventually bought a used small kiln,  the garage area  was  so small I could barely fit it in.   My husband used the garage to repair cars,  the desk top and chair had to fold up so he could walk around the car.  Every potter I know has had a crummy first studio,  the studio situation in college isn't great.   A lot of yelling going on you just have to ignore it.   Denice

Hi SIg...while my old CI wheel isn't the same as yours, I made a splash pan from the bottom of a plastic trash barrel. If you look at my album, you can see different views of the piece I made and if you can't get a replacement from the manufacturer, this is something you might try to make yourself. The blue insert is used to catch trimmings when I use my Giffen Grip and is made from the top of another plastic trash barrel. Good Luck!