Hulk

It can be humid in my area so I put a small desk fan or a light bulb in the bottom of my cabinet,  the fan cannot blow directly on the pots.   The cabinet I use is a utility or laundry room cabinet, it is all plastic with adjustable shelves and is vented.   I have to put wire racks on the shelves so I won't have a build up of condensation between the shelf and the bottom of the pot.  I pick up the racks at estate sales,   you have to know the size  and make sure the wires and to far apart.  I bought one for tile that is called a pie rack ,  3 shelves that stack on top of each other and then fold up to put away.    Denice

A year late to this, but I experimented with carbon process back in the 70s, both with Hanfstaengl black carbon tissue and with self-made materials.  I had some success in placing gelatin/pigment images on glass, that showed some promise of at least limited continuous tone density range.  I used glass because Kodak glass slide covers were readily available and accepted coatings.  I used one or another hardness of photo gelatin, and dry pigments from the art store. 
(I have had good results in ceramics with selected Gamblin dry pigments: Cr green, Co blue, Fe/Mn umbers and siennas, as dry press body colorants and in hot oil intaglio transfer inks.) 
Recall that in continuous tone carbon, your range of image density is created by range of pigmented film thickness, the image will harden from the exposure lamp side inwards, and that you need ultraviolet (I used a now-contraband 60s suntan mercury vapor suntan bulb).  You are running a race between colorant density needed to form the image, and colorant+frit... density absorbing and scattering the exposure light against hardening more of the carrier.
It's tempting to try this again, but I feel that it is no longer responsible to flush dichromate, even where it might not be directly illegal.  Oh yeah: also the formaldehyde for hardening.  Diazos aren't necessarily super safe, but at least they're easy to destroy.

@Tova Cooper Just a couple thoughts -
I suggest to make sure and cut it cleanly off the wheel several times to see if in fact there is an air bubble. You may need time to perfect your centering in the new environment and it simply may not be trapped air.

Additionally rounding your clay into a ball ensures that the center will touch down on the wheel head and as you push down, air will be expelled as it seats on the wheel -:thrown or placed and pressed.

After you wedge upur clay and either make it into balls or shape for throwing off the hump, try rolling the ball on wheel so the bottom cones a bit then press it down .
Try throwing and opening a piece without the coning process to isolate whether that process is the culprit.

Hi Wayne, welcome to the forum.
Everyone, here is the C6IRED schedule he's referring to.
Step °C °F Hold Time   1 138°C/hr to 121C  250°F/hr to 250F  60min 1:42 Evaporate all mechanical water 2 194°C/hr to 1148C  350°F/hr to 2100F  0 6:59   3 60°C/hr to 1204C  108°F/hr to 2200F  10min 8:04 Slow down to even out kiln chamber 4 555°C/hr to 1148C  999°F/hr to 2100F  30min 8:40 Heal blisters, pinholes here 5 555°C/hr to 960C  999°F/hr to 1760F  50min 9:51 Grow iron crystals here The Genesis controllers have been known to have a problem with the Wi-Fi module. You'll need to send it in to have the module replaced. The new modules appear to work fine. You'll need to contact them to get a repair authorization number.
That module may or may not be the cause of your firing problems, but it's probably not. The only time I've seen the wifi module create problems is when it totally freaks out and gives a 'soft watchdog error' code.
As for not following the schedule exactly, I'm not surprised. Most kilns can't keep up with a 350F/hr rate of climb, especially up to 2100F, and especially when you're running a kiln with zone control. It can't go that fast and keep the sections even. Plus your 9999 cooling times are going to be different depending on the size of the kiln and the amount of mass inside it.
It's possible that you do have a thermocouple problem. Have you checked the logs to make sure they're running evenly? If one is consistently out of whack with the others you should see that. Also check the thermocouple wire connections, especially on the ceramic block where they connect to the thermocouples. The wires can break under the set screws and cause jumpy readings. The second, 14 hour firing leads me to believe you're either getting a jumpy thermocouple reading or you have a relay that's sticking periodically. Again, if you look at the logs you should be able to see if a section is lagging.

Haven't been potting very long, coming up on five years.
Seems like I've more getting stuck in terms of skill development* than evolution of form and finish, trying for new forms, textures, details, patterns, et cetera**
Stuck is, however, stuck.
Earlier, I watched a lot of video clips, and looked at many books and magazines.
Now I persist for a while, then break off for the day, or even a few days afore returning to the challenges.
I read this forum! ...variety is, "they" say, and yet, the themes are remarkably consistent.
Every once in a long while I'll watch a few video clips, pick up a book or magazine, even wade into a "classic" magazine.
*There are those times when skills seem to be going backward.
There are also those times when skills appear to be stagnating - running in place.
**Whilst there's nothin' new under the sun, there's plenty that's all new to me.
New (to me) forms - even scaling up a familiar form - entails a development or refinement of skill.
For me, it comes back to skill, even how one looks/sees evolves; is skill involved in that as well?

Is a particular emotional type/profile and/or mental framework/outlook required to play with clay?
Good Question!
Short answer
Only somewhat, yes.
Medium answer
Only somewhat, on account of I believe the typical human is flexible enough to adapt to challenges well outside of their comfortable "wheelhouse."
Longer answer
Many potters are potting by choice (rather than necessity); for them/us, I'd say yes.
Clay involves putting the hands directly on and getting "dirty."
It's not for everyone.
I like feeling clean, however, I've been into tools, fabricating, taking things apart, repairing, and reassembling for as long as I can remember, and the chips, dust, flakes, dirt, grit, grease, oil, et cetera that's involved hasn't deterred. So, there's that.
Beyond the garage/basement/workshop, we spent a lot of time outside whilst growing up, doing stuff.
From there, so many directions to take with this question!
How I've wanted to learn to throw for a very long time, just something that caught my eye, never forgot it.
How much I've enjoyed physical engagement, to the point of extreme excess in endurance sport, and just normal excess in work for pay - running machines, in a few trades, et cetera.
How much I dig the details - practical details - of glazes and firing, technique, history ...everything (up to a point)!
How satisfying it is to make things that others use and appreciate.
...and more.
What looms, in my memory, an experience in the "Mainstreaming" class (required to keep my teaching credentials current) I took some thirty-two years ago.
The instructor had us complete several inventories (psychological, mental, emotional, thinking/learning stuff), then we shared our outcomes. The instructor had checked with me aforehand, would it be ok with me to discuss my results frankly with the class, last? Sure, of course. The instructor said this type of profile, where there's a significant "lobe" in each quadrant - rather than the usual one or two dominant quadrants - is somewhat uncommon; what is more uncommon is the depth and breadth in each quadrant.
You could hear a pin drop at that point.
The instructor explained that they fully believed the profiles to be accurate - they had been waaaatching me!
Still, you could hear a pin drop.
From there, the instructor explained what life is like for people "like you," which sounded rather familiar, yes, and summed up with somewhat about how it can be difficult to be like you, Tom, and it is difficult for the others in your life.
Oh.
The instructor thanked me, this is probably good for you, and certainly good the rest of the class, to know there are more of "you" out there.
Apparently, I don't have an emotional profile/type, nor a mental framework/outlook.
I remember this idea, occasionally, and I try to fully appreciate those that put up with me!

Left example is one of Mayco Stroke and Coat purples, right is Speedball purple, both with Mayco Crystal Clear overglaze.  62 mm diameter after firing.  Colors were dried down, and modified with gum arabic solution as previously mentioned.  Ready patterned screens were probably Keoker.  "Half-ripe" xuan roll paper.  I sponge on the dried transfer print, then brush with a soap solution, and burnish with a wooden tool before peeling.  Soap solution brushing is a habit from earlier hot oil/intaglio fine line work with soap-sized tissue (soap sizing the tissue before printing is necessary there, but counterproductive for aqueous glazes), and may not be essential.  Look for the color to go more white under the paper surface as a partial clue to adhered transfer, not as reliable an indication as with commercial transfers, but useful.  Clay Planet Low Fire White cone 04 bisque then 04 or 06 glaze.  I have also had good results on Texas Blackjack clay (dark gray in the block, fires white).  Note how the Mayco purple does not develop as strong a line density, but gives a pleasantly softened line under the clear glaze.

Tissue transfer ... Prepare a silk screen or start experimenting with the screens sold for earring decoration on polymer clay.  Use "half-ripe" xuan paper available in cut sheet or roll form, sold for China calligraphy practice, currently under $US30 for a 35 cm x 100 m roll.  "Raw" xuan works but often with more gaps, call it rustic.  "Full ripe" paper gave poor results in a brief try.  Disused sewing pattern paper can also work.  Unprinted cut sheet transfer paper from transfer suppliers is better but more costly.  Transfer tissue best for hot oil ink intaglio process (Potclays, maybe unavailable now) was not good for this technique.  Use glaze or underglaze dried down to around toothpaste to peanut butter consistency.  I feel that adding a little gum arabic solution helps transfer behavior.  I blue tape the paper and screen to a commercial glazed tile, and use a plastic scraper (putty knife) to apply the ink directly.  I have good results with old Speedball earthenware glazes (neglected in jars for 6 years), a couple of new Sax underglazes dried down, and a couple of old Coyote high fire underglazes.  Some Mayco Stroke and Coat colors have done ok.

Think Hulk hit my  method/ fix.
I find when I know I wont get to clay I look at magx and ocasionally instagram.
But when I get to shed I mosey about putting stuff back or checking if clay is ready to recycle I get back into losing the "other" life and get sorted. Too much external vIsuals knock me off the path. 

I am not an artist so I can't speak to being creatively stuck, but every time I do chores that keep me from potting, like sieve glaze, deep clean, deal with reclaim, etc... I think about all kinds of new things I "want" to do in the studio, lol.

@Bill Kielb That was incredibly helpful, thank you so much!

This was part of a demonstration  on how broken bulbs fired in the clay create a clear glaze.  He had us find old bulbs and break them over a trash can outdoors  because the powder in side of them was dangerous to breathe.  We washed them and brought them to class,  this was part of our assignment.   I handbuilt my pot,  we had only one wheel in the class,  my teacher would pick one boy to teach him how to throw.   Girls weren't given this honor we were too weak,  I was a head taller than my teacher.  had broad shoulders and large hands.   The glaze it made was a ugly dingy clear.   In the late 60's  many of the psychodelic  albums were played during class and I am pretty sure my teacher was smoking marijuana in his pipe.  After I left he somehow managed to burn down the classroom,  they rewarded him by replacing the electric kilns with a big gas kiln.  It  was a interesting and fun time of my life and I didn't do drugs, smoke or drink.    Denice

Neil has a second video with Clayfliks, "How to Throw a Large Vase". It's another really good one, preview below.
 

How to Throw a Large Vase with Neil Estrick

Sending out congrats to @neilestrick for the video he has up on CLAYflicks! (I'm going to use your method of tumble stacking pots in totes for sure.)
Way to go Neil! 
Video snippet below from "Neil Estrick's Efficient Packing for Art Fairs"

Neil Estrick's Efficient Packing for Art Fairs

@Dom_Llam
Here is a generic explanation from an old Duncan wiring supplement that I believe was mislabeled on their website. I believe it is applicable to all models with the switch and timers.
This may help

We don’t like borax, but we love boron. Most sources of boron are bucket soluble to some degree or other, but borax is particularly bad for it. When the material is that soluble in the bucket, it affects the viscosity of your glaze how it applies.
Picture this. You mix your borax based glaze and use some of it that day. It works great, your pots turn out fantastic, so you make a bigger batch before you make your next round of pots. While you’re spending 2 weeks (or more) making your next kiln load, the borax has a chance to dissolve in the glaze water. Next glaze day, your bucket looks like it’s thickened up a LOT. If your glaze gels and you do nothing, it goes on too thick and can run or cause crawling. You fire a kiln load of this ware, and you then have a bunch of shelves to clean. Plus, you’re out the work you spent 2 weeks (or more) making.  If you add water to your glaze to  make it flow properly, but for some reason your floating blue now is more of a yucky brackish brown colour. Again, you’re out the pots. Frustrating, but you’re a potter, so you’re undaunted! You then head to the internet and learn about how water content affects your glaze outcome, and you realize that the amount of water in the first batch was correct, but the  rheology or flow that was a problem. Now you have to start adjusting your glaze’s rheology with deflocculants like darvan (sodium silicate can and will make it worse). 
The material is cheap, but you pay more in time trying to fix problems and in wasted work. It’s more economic to use other sources of boron like gerstley borate or frits.  Many boron frits are still soluble, but a lot less than borax.
That said, if you’re knocking together something like raku glazes that will be used the same day,  borax could be a a good teaching material. 

The problem with solubles in a glaze slurry is that the dissolved flux materials (e.g., borax, soda ash, sodium leaching out of neph sye or some frits) moves into the interior of the bisqued ceramic with the water as the glaze is applied. Then it stays there. Because it is a flux, the ceramic body is fluxed (and thus overmelts), not the glaze. It you want to use a soluble material in a glaze, you have to use the glaze right away, before it has a chance to fully dissolve into the water, or used it in a specific way, such as carbon trap shino, where the migration of the dissolved sodium creates the desired effect.

Just to give everyone a heads up: over the last two years plaster product consistency has really been eratic. At my day job I pour 2-4 Ram press molds a day. I use USG Ceramical. I order 400 lbs. every 4-5 weeks. This latest batch, dated 11-5-2022 (bagging date) is inconsistent. It mixes really thick. It's set time is somewhat normal, 15-20 minutes, but it mixes thick. (I use a scale to measure out my water and powder and a timer to time the process.)
The last few batches of Ceramical, before this, were normal. About a year ago, however, I went through several batches that set up much more quickly than I expected. 
In my own studio, where I mostly pour pottery plaster, GP K60, I've had the same experience. I don't order as often, 200 lbs. every 4-6months, but the same issues have occured. New bags that should be smooth and mix easily, are full of lumps and set quickly. It's been frustrating but I'm just happy I can actually get product these days as supply chain issues have sometimes delayed production.

90% of the time un-sticking tactics for me involve filling a need that I’ve been neglecting. Is it my mind, body or spirit that needs attention? Do I need to rein in my caffeine consumption so I can get some sleep, do I need to get out of my head and go visit friends, or do I need some time to sit and noodle over a problem? Do I need a new playlist or audiobook? Am I hungry? Mostly getting unstuck is some form of “go away and do something else for a while so your unconscious can work on it.”I don’t love everything Julia Cameron does in her Artist’s Way books. I don’t think that treating a creative block as a pathology or an inner child is necessarily the best, but the parts of her approach that involve treating yourself gently and giving yourself mental/emotional space and time are good general life advice.
Creativity is play. You have to feel safe and warm and fed, and a little curious and a bit bored in order to begin to play. If one or any of those elements are missing, you have to do whatever it is that will get you into that state. 

Glaze firing was a success!!! I think I should make a few more like these and not concerned about any air trapped like everybody said!
Thanks everyone for your time, tips and comments !!! 
Greetings from Greece !!!

Looking through your old pots can help sometimes.  Like Old Lady I dislike or even hate them but occasionally I will run across a piece that I really liked and forgotten about.   I wonder why I didn't go further with that design and decide now is the time.    Denice

Very little. It will pass.
The fact that Marcia Selsor just posted something inspires the hell out of me though. Go figure. 

bam, my studio is full of things i made years ago and liked then.   when something else caught my attention  i moved on to that style for awhile.   i think everyone goes through that scenario before finding a solution that becomes their own "signature style".   there are several very large bowls which i made for mashed potatoes on thanksgiving.   flowerpots for particular plants,  candlesticks, lidded jars, teapots, baskets, vases big and small, etc. 
the experiments with clays and glazes happened along with the style.  i love white clay, the red and speckeled  clays were too messy and  took the focus off  the design.
i think i have found my sweet spot in slabs that have plant materials as the focus.   oops, i almost forgot the dragonfly that makes the pot sell well.   next step is finding a way to make slab bowls,  maybe a mug, some other circular pieces with plants and dragonflies.   getting the bottoms attached so they do not leak is the difficult part and seams that are hardly visible  present a challenge.
so much clay, so little time i hardly ever need motivation but a warm studio would keep me out there all winter.