Min

Mason puts out a Reference Chart that lists all the ingredients in each of their stains. 
https://www.masoncolor.com/reference-guide

Mason puts out a Reference Chart that lists all the ingredients in each of their stains. 
https://www.masoncolor.com/reference-guide

Nope.
A third firing to ^03 can definitely change the look of glazes fired to mid or high fire. In effect what you would be doing is a strike firing which can alter glazes high in colouring oxides, particularly with iron or copper.

I'll post this in the pinned Custer thread also.

 

Hi and welcome to the Forum!
If you don't like the results you have so far then there isn't really anything to loose by trying the wash. As to whether it covers the glaze, probably not but something might happen, what happens is going to be trial and error. Washes can be applied then wiped or sponged off green or bisque or they can be brushed on either on top or under a glaze. I would suggest warming the piece(s) up before trying to apply the wash. If you use a copper oxide wash overtop of a glaze it would be best not to do this on a surface that could come in contact with food.
Re your muddy underglaze colour with clear glaze, this can happen depending on the chemical composition of both the underglaze and the glaze insofar as the reactions between ingredients. For example green underglazes that use chrome (in the stains within the underglaze) will turn the green to a not so attractive brownish colour if the glaze contains zinc, chrome tin stains (for some pinks, reds and purples) will get bleached out if the glaze doesn't have really high calcium levels causing grayish tones to the underglaze. Colours can also be affected if the glaze is applied too thickly, underglaze can look milky and clouded.

Hi and welcome to the Forum!
If you don't like the results you have so far then there isn't really anything to loose by trying the wash. As to whether it covers the glaze, probably not but something might happen, what happens is going to be trial and error. Washes can be applied then wiped or sponged off green or bisque or they can be brushed on either on top or under a glaze. I would suggest warming the piece(s) up before trying to apply the wash. If you use a copper oxide wash overtop of a glaze it would be best not to do this on a surface that could come in contact with food.
Re your muddy underglaze colour with clear glaze, this can happen depending on the chemical composition of both the underglaze and the glaze insofar as the reactions between ingredients. For example green underglazes that use chrome (in the stains within the underglaze) will turn the green to a not so attractive brownish colour if the glaze contains zinc, chrome tin stains (for some pinks, reds and purples) will get bleached out if the glaze doesn't have really high calcium levels causing grayish tones to the underglaze. Colours can also be affected if the glaze is applied too thickly, underglaze can look milky and clouded.

Hi and welcome to the Forum!
If you don't like the results you have so far then there isn't really anything to loose by trying the wash. As to whether it covers the glaze, probably not but something might happen, what happens is going to be trial and error. Washes can be applied then wiped or sponged off green or bisque or they can be brushed on either on top or under a glaze. I would suggest warming the piece(s) up before trying to apply the wash. If you use a copper oxide wash overtop of a glaze it would be best not to do this on a surface that could come in contact with food.
Re your muddy underglaze colour with clear glaze, this can happen depending on the chemical composition of both the underglaze and the glaze insofar as the reactions between ingredients. For example green underglazes that use chrome (in the stains within the underglaze) will turn the green to a not so attractive brownish colour if the glaze contains zinc, chrome tin stains (for some pinks, reds and purples) will get bleached out if the glaze doesn't have really high calcium levels causing grayish tones to the underglaze. Colours can also be affected if the glaze is applied too thickly, underglaze can look milky and clouded.

If you do an absorption test on your clay it will tell you this. It's a good idea to test a claybody for absorption using your kiln and firing methods rather than what a clay manufacturer publishes it as. For functional ware below 1 - 1.5% is usually good. Link here on testing absorption if you need it. If the clay isn't porous for all intents and purposes and you run your pots through the dishwasher I wouldn't worry about the odd pinhole. Aesthetics are a different point, a pinhole on a pristine porcelain piece is going to stand out far more than one on a rustic piece. 
Ryan Coppage article here discussing bacteria growth on crazed glazes. Conclusion is if your clay is vitrified and the pots run through a dishwasher bacteria is not an issue. (article is behind a paywall but you can access 3 free articles a month) I haven't come across any literature proving pinholes harbour more bacteria than craze lines.

Glaze crawling is usually from one or two main causes. Either the glaze was too thick or the bisque was contaminated with dust or oil (from skin or hand lotion etc). Crawling can also happen when the recipe contains too high an amount of a material with excessive shrinkage but it doesn't sound like thats it in this case. 

If you do an absorption test on your clay it will tell you this. It's a good idea to test a claybody for absorption using your kiln and firing methods rather than what a clay manufacturer publishes it as. For functional ware below 1 - 1.5% is usually good. Link here on testing absorption if you need it. If the clay isn't porous for all intents and purposes and you run your pots through the dishwasher I wouldn't worry about the odd pinhole. Aesthetics are a different point, a pinhole on a pristine porcelain piece is going to stand out far more than one on a rustic piece. 
Ryan Coppage article here discussing bacteria growth on crazed glazes. Conclusion is if your clay is vitrified and the pots run through a dishwasher bacteria is not an issue. (article is behind a paywall but you can access 3 free articles a month) I haven't come across any literature proving pinholes harbour more bacteria than craze lines.

Glaze crawling is usually from one or two main causes. Either the glaze was too thick or the bisque was contaminated with dust or oil (from skin or hand lotion etc). Crawling can also happen when the recipe contains too high an amount of a material with excessive shrinkage but it doesn't sound like thats it in this case. 

Yup. A gold and luster eraser. 
https://tuckers-pottery-supplies-inc.shoplightspeed.com/gold-luster-eraser.html

If you do an absorption test on your clay it will tell you this. It's a good idea to test a claybody for absorption using your kiln and firing methods rather than what a clay manufacturer publishes it as. For functional ware below 1 - 1.5% is usually good. Link here on testing absorption if you need it. If the clay isn't porous for all intents and purposes and you run your pots through the dishwasher I wouldn't worry about the odd pinhole. Aesthetics are a different point, a pinhole on a pristine porcelain piece is going to stand out far more than one on a rustic piece. 
Ryan Coppage article here discussing bacteria growth on crazed glazes. Conclusion is if your clay is vitrified and the pots run through a dishwasher bacteria is not an issue. (article is behind a paywall but you can access 3 free articles a month) I haven't come across any literature proving pinholes harbour more bacteria than craze lines.

From https://community.ceramicartsdaily.org/topic/1557-gold-lustre-and-alkaline-glaze/?do=findComment&comment=10521
1. Lustre is a thin film of metal deposited on the surface of a fired glaze.
It is NOT a glaze in itself. It relies on the glaze interaction with the lustre for adherence and this can be anywhere between 720.C-820.C depending on the hardness of the glaze. Earthenware glazes are usually refired between 720-750.C while stoneware and porcelain usually refire between 780-820.C but that is not set in stone. Every glaze is different and you would have to test to find the common denominator for your glazes. Glass, depending on the type, starts to accept lustre from 600.c onwards. You will know if you haven't fired high enough as the lustre will rub off. If fired too high it will start to burn off and be patchy. Commercial porcelain blanks can be tricky to find the optimum temperature as a lot of these follow the procedure of high fired bisque with a low fired glaze. This appears to be the same with bone china. It takes on the characteristics of the glaze it is on. If the the glaze is very glossy then the metallic layer is very glossy. If the glaze is matt then the metal layer is matt and this then follows on for all the permutations in between. However I have noticed in my own work that copper glazes seem to be more problematic as my lustres always seem duller. This then brings me to the second point. PS
These lustres (there are reduction lustres as well) are based on resinates, which are metallic soaps. When they are heated they decompose to metal atoms and various gases such as CO2. Why most of them (e.g. copper) don't decompose to the oxide is complex, and apparently relates to the electron distribution within the resinate ion during its decomposition. Which is why resinates are still used.
Danger of skin contact & fumes until they are fully fired, then you've got a metallic thin film (somewhat amalgamated with the surface of the underlying glaze). Some of the dangers are inherent to the resinate, others relate to the solvents used.
Johanna DeMaine
Lustre Ceramics Monthly
Health & Safety and Overglaze
Background Overglaze: Challenging the Myths
 

Yup. A gold and luster eraser. 
https://tuckers-pottery-supplies-inc.shoplightspeed.com/gold-luster-eraser.html

We do our own kiln repair but there is something that came to our attention regarding installing kilns. When we were shopping around for a new home insurance policy quite a number of years ago most home insurance providers wouldn't insure me unless I could prove a licensed electrician did the direct wiring for the kilns. 
I don't think the "Potter" designation means you have to do absolutely everything. Are we ruling out people who use pre-made dry glazes, bottled glazes, bought clay,  etc. Slippery slope.

We do our own kiln repair but there is something that came to our attention regarding installing kilns. When we were shopping around for a new home insurance policy quite a number of years ago most home insurance providers wouldn't insure me unless I could prove a licensed electrician did the direct wiring for the kilns. 
I don't think the "Potter" designation means you have to do absolutely everything. Are we ruling out people who use pre-made dry glazes, bottled glazes, bought clay,  etc. Slippery slope.

We do our own kiln repair but there is something that came to our attention regarding installing kilns. When we were shopping around for a new home insurance policy quite a number of years ago most home insurance providers wouldn't insure me unless I could prove a licensed electrician did the direct wiring for the kilns. 
I don't think the "Potter" designation means you have to do absolutely everything. Are we ruling out people who use pre-made dry glazes, bottled glazes, bought clay,  etc. Slippery slope.

Looks like one man's collection of other folk's glazes, prob no text book as such
Some are Bwenard Leach's , some are Val Cushings , you say they are your professor's so why not ask him?

Thanks for answering a couple points, makes it easier to give suggestions when we have more info. 
I would glaze fire the tiles on waster strips of clay. These don't need to be bisque fired if they are bone dry. For waster strips I would roll out a slab of clay (same clay as the body) to about 1/8" thick and about 19" X 16" then cut it into strips about 2" wide. There can be gaps between strips but have the edge ones fairly close the edge of the tiles. Make the strips a bit thicker if you plan on glazing the edges of the tiles right the way down with no wax line. Extruded coils would work too. Reason for the waster strips (or coils) is twofold, one to allow the tiles to shrink / move freely without getting hung up on the shelves and secondly to allow airflow under the tiles. During cooling the shelf is going to retain heat much more so than the air will, this means the bottom of the large tile can be much hotter than the top surface which can lead to cracking.
I would place the tiles in the middle section of the kiln. If you use half shelves make sure they are lined up perfectly. I would also suggest ringing the tiles with either other pots or square or triangular kiln posts laying on the side, this also helps even out the heating and cooling.
I know you said the tiles are time sensitive so you might not have time to dry waster strips / coils, if so some people have success with using silica sand under large slabs, sculptures also.
To be super safe you could also add a slow cool through the quartz inversion zone. (slow from 1100F - 1000F, tc's measure air temp not shelf temp so the 100 degree range is pretty safe) Don't open the kiln until it has cooled down well below 400F. I would also glaze fire them slowly, not a fast firing.

Thanks for answering a couple points, makes it easier to give suggestions when we have more info. 
I would glaze fire the tiles on waster strips of clay. These don't need to be bisque fired if they are bone dry. For waster strips I would roll out a slab of clay (same clay as the body) to about 1/8" thick and about 19" X 16" then cut it into strips about 2" wide. There can be gaps between strips but have the edge ones fairly close the edge of the tiles. Make the strips a bit thicker if you plan on glazing the edges of the tiles right the way down with no wax line. Extruded coils would work too. Reason for the waster strips (or coils) is twofold, one to allow the tiles to shrink / move freely without getting hung up on the shelves and secondly to allow airflow under the tiles. During cooling the shelf is going to retain heat much more so than the air will, this means the bottom of the large tile can be much hotter than the top surface which can lead to cracking.
I would place the tiles in the middle section of the kiln. If you use half shelves make sure they are lined up perfectly. I would also suggest ringing the tiles with either other pots or square or triangular kiln posts laying on the side, this also helps even out the heating and cooling.
I know you said the tiles are time sensitive so you might not have time to dry waster strips / coils, if so some people have success with using silica sand under large slabs, sculptures also.
To be super safe you could also add a slow cool through the quartz inversion zone. (slow from 1100F - 1000F, tc's measure air temp not shelf temp so the 100 degree range is pretty safe) Don't open the kiln until it has cooled down well below 400F. I would also glaze fire them slowly, not a fast firing.

If the colour is the same in both (I'm guessing it is if you haven't noticed a difference) then put a drop of water on a piece that was for sure bisqued to 1860F and time how long it takes to soak into the clay. Repeat with the clay that was possibly only bisqued to 1200F and see if takes longer. You can also stick your tongue on both pieces, the lower fired one will stick more. (maybe don't do this in public)

@Morgan, have you tried slaking some of your dry scrap and seeing if it actually needs additional plasticizer? If you have been diligent in saving your slops you might not need anything. Re which one to use if you do need one, Bentone MA is what used to be called Macaloid. I have used that and also  Veegum (it's not a gum either, it is a water washed white smectite clay, extremely fine particle size also).
If you do need to add some plasticizer I would weigh out a KG of dry scrap and then try just 0.50 - 0.75% of either Bentone MA (Macaloid) or Veegum. If you try the Veegum be careful which Veegum you get as there other forms of Veegum available, you want either Veegum or Veegum T. Whichever you use it has to be thoroughly mixed with hot water before adding to your slaked clay. I add the Bentone MA (or Veegum) to the water then whiz it with a handheld stick blender for about 20 minutes. It will go thick and very smooth, might need to add more water if it gels up too much. Once you have the dry clay slaked down add the Bentone MA or Veegum mixture to the clay slurry and continue mixing it until it's all blended. When trying out grolleg bodies I used 3% Veegum, it made a very plastic claybody that was quite sticky, I probably could have cut that amount back.
Hansen has the analysis for Bentone MA (aka Macaloid) containing MgO (approx 23%). Article on it here and on Veegum from Vanderbuilt minerals here. Either one will get the job done.

You can't replace the relays with anything different. There are other types that will fit, but the ones you have are made for high heat locations. They're the best you can do. And for the most part they will work fine. The only other option is to get a new control box and move everything over to it and use the black relays. I don't think that's necessary, though.
I've seen relays fail prematurely on Skutt kilns dozens of times, and the solution, per Skutt, is to change the wiring harness.