Hulk

@Bam2015 You and me both!

Really sounds like there was an issue with the batch you got rather than a fit issue with all 15 of your glazes.
What I would do in your situation is make up some tests with increasing amounts of silica added to the body then try it with one or two glazes and see if it still crazes. I would add increments of 5% silica (200 mesh) and see if the crazing is reduced. I would dry out some unused clay (not trimming scraps) weigh out dry clay into four 100 gram batches and add 5% silica to the first, 10% to the second, 15% to the third and 20% to the fourth.  Add some water, slurry mix it then dry the slip on plaster until you can wedge it up. Make some test tiles with the clay, bisque as usual then try one of the glazes you know should fit the clay. Document every step with photos then see if the glaze crazing is reduced or worse. Send your findings to Laguna with an offer to send them a sample of the clay so they can test it themselves if you still aren't getting satisfactory help from them.
 

I agree with everything you said and totally expected not all glazes to fit with a new clay body. Not that it is a barometer for anything but I have tried all these glazes with a dozen other porcelains (with similar COE) and other clay bodies with zero issues. Again, I know that does not mean much for Frost, but it just seems strange. That said, I find it pretty unusual that every single glaze (15!) did not play well with Frost. Especially given the glazes I tested which, are all for the most part, very much in a good range and known for their stability.  I feel like I would have heard or seen more people discussing Frost glaze fit issues, but maybe I have not been paying attention. Lastly, a lot of these glazes have years of pictures and reports on Frost with no issues for others poking around Glazy etc (Opal for example).

Anyway, I appreciate the comments, and agree, just still find it odd. Not a big deal, I will stick with works, but I would love to hear from folks that actually use Frost too to see if they are having/had such issues with such a broad spectrum of glazes that seemingly work fine for most people using the same clay body.

I appreciate the thoughtful and detailed response!

@Hulk So you are already undergoing what we are still anticipating.
Boy do I hate moving!
The thing about the wet stoneware is it is REALLY wet.  I've seen people roll it into an arch and leave it to sit to dry out a bit and its still not that much improved by the end of class (3 hours).  It is SOPPING.  I've never seen such wet stoneware.  It is MUCH MUCH worse to work with than what I remember of the one time I worked with actual porcelain. However other people seem to be managing, more or less.  For me, it thins out too fast in spots and not enough in others - when trying to raise it.  This doesn't happen much with the B-mix.  It nearly always happens with the stoneware, and right quickly.  I can't seem to work it easily or evenly and I have to work it FAST before it collapses on me, so I don't have time to finesse it at all.
Plus it is pugged and de-aired and if I have to re-wedge it anyway, might as well put all that physical labor into wedging the B-mix, which I have found to be much preferable to working with the current version of the stoneware.  That said, I'm not sure I've been successful with my strategy for wedging the B-mix without really wedging it and I'm not physically capable of wedging it in any great amount on my own.  I REALLY wish I'd bought the Pete Pugger first - I could move that and I'd have it to use in the meantime.  Oh well.
So yesterday I had one of my psuedo-wedged blobs actually keep twisting off while I was trying to cone it up.  THREE times (same blob). So I'm not sure what I did wrong there.  
I've also noticed that there are weird lumpy feelings as I work the stuff, not always, but sometimes, and from the same batch that I just sorta wedged. So not all the clay from a given wedge-batch.  I'm wondering how much of my stuff is going to blow up in the kiln.
I stack 'n slam until I don't see bubbles when I wire cut it.  The problem seems to be when I try to form it into a cone-blob for the wheel.  I can't figure out what I'm doing wrong and youtube is no help because people "demonstrating" that, sort of do it blocked by other things and really fast so it looks like it magically forms up for them.
As usual for me, bowls come easily.  But I keep forcing myself to think "cylinders".  Or else how will I ever learn ...

Well several things, sort of more or less simultaneously.  This is probably TMI, but here goes.
Around the time Tejas went totally off the deep end with the removal of reproductive rights and on-going threats to access to birth control, my son and DIL discovered that the much-vaunted (by people who live here) "excellence" of public schools is more like excrement.  BTW, after he discovered how bad the "program" is here, people started admitting to how bad schools are in general around here, which is not the song they'd been singing. Anyway.
My grandson is neuro-atypical - not the full on rainman thing, just atypical. Nonetheless he needs a supportive environment until his outward development catches up to his inward development.  He's been in a VERY good and supportive program but he is going to age out next school year.  Not sure why, but public schools here want 4 year olds in their program - preK.  And their program for neuro-atypical kids is le suckage.  Which my son and DIL didn't find out until they went to some kind of meeting to prepare for the switch.
So between threats to my DIL's health (she had a problematic pregnancy and is in her late 30s) and imminent threats to my grandson's development, we're moving OUT of Texhell. Not to mention the whole racism situation.
Because of all this my son quit his tenured teaching position which he loved to get a remote job with a large tech firm (just started a couple of weeks ago) so he could move wherever in the country he felt he could get decent services for my grandson, and where my DILs life won't be endangered by restrictions on her access to necessary health care. Before all this stuff blew up in our faces, my son was SURE we would live here FOREVER. So he assured me I should go ahead and buy the kiln and then - KABLOOEY. 
It seemed silly to spend a ton of money to make the electrical changes to a house I wasn't going to be in that much longer, and then not be able to move the kiln, it was apparently too late to stop the kiln being completed and shipped, my son didn't want to mess with moving it, I was getting advice not to TRY to move it (from Tejas to somewhere around Albany) - it turned into a huge hassle and finally it ended up at the local studio - where it has not even been hooked up yet and likely won't be for a significant length of time (they have electrical issues apparently courtesy of the former studio manager dating back to the opening of the studio - shortcuts taken that shouldn't have been taken). 
So it all seems sort of a waste.  And depressing.  Took me awhile to "get over it", not helped by an onslaught of dental issues all at once, 3 root canals, and a history of me having a lot of dental work in the past (40 years, including 2 wisdom tooth extractions) with little or no anesthesia because my nerves are in a weird place and dentists act like Torquemada when you tell them you're not numb. Lots of stress on top of the physical aspects, and a worsening of my Addison's disease consequential to all the stress.  So I'm just now back in the studio.
Sorry.  I don't know how to be concise any more.  *sigh*

Hi Py,
Hope you are progressing to a happy place with clay.
I'd seen your post earlier today, wanted to share some thoughts, however, we were very busy with the moving vans and such, finally settled for the day with kind family members who are putting us up for a few days whilst we finish cleaning the (now empty) house before driving the cars to our new town*...
I didn't mind working with bmix**, but went away from it on account of glaze fit issues, severe crazing.
I was having some good results with buff and red clays.
Later on I found two white stonewares that my glazes fit.
Thought I
I prefer having the clay be a bit damp, then by the time I've weighed out my clay balls and wedged them up, if it's not dried to the consistency I want, I'll just wedge it a bit more - going to the plaster slab if necessary. Yeah, I prefer that over cutting slices, misting them, wedging them together, etc. until a too dry clay is wet/soft enough for me.
The plaster slab pulls moisture fast.
So, maybe give the too wet stoneware another chance?
Seems like there's a tradeoff, where dryer clay gives a longer working window until it is too wet, however, it takes longer to move it around, and it shears more easily.
With damper clay, it moves easier, but one has to work faster, for it gets too wet more quickly.
Thought II
The clay right next to the wheel head doesn't move much - doesn't move at all.
Coning gets the clay swirled ok, but if there's a blob, bit, bubble, too dry or too wet bit right on the wheel head - trouble.
I don't have much luck with coning removing bubbles. Getting the bubbles forced into the middle does help, but better if no bubbles.
All that to say, I've a much better time with really well-prepared clay - even consistency, no bubbles.
On preparing clay, several points:
I prefer to stand, so I can lean into it, but sometimes I've some pains and twinges, so I wedge sitting down.
Not sure if that could work for you?
Having the surface at the right height is for sure important, either way.
Prepping is nice when there's no hurry - back to the too damp clay, eh? - nice and easy, work it until it is ready, small lumps are easier.
When the lumps are ready, I stack them up in a lidded container, for I don't want the surface to dry, because then it's no longer consistent!
There are those who take the clay right out of the bag and work it with no prep!
I do believe it's possible, yep, with a freshly opened bag that's consistent and bubble free.
My guess is there are limited or even no options for clay sources where you are.
I hope there are, so you can just sit down and throw.
I'd prep you up a stack of clay lumps and smile doing it!
During my two semesters of Wheel class at the local JC, I prepared clay balls for several of my classmates.
I liked being helpful, and I was also curious to see if well prepared clay made any difference; my observation, it makes a difference!
Perhaps you'll find someone who can help.
 
*We're moving back to an area we lived in afore.
**It's different! ...not my favorite, but it's ok. The kind with a fine particle, sand or somewhat, I like better.

 

Thank you for your answers. I completely edited this last message. I figured out that having the wheel upturned on end was not working for me and my weak arms. So, I put it on its side, then I could use my weight to stretch the belt and got them all in place ... with only one cut on my finger, because I was too impatient to go get my garden gloves. Got them and finished the task. I might add a video here of a realistic version of changing a belt for those of us who can't just muscle them on.

You might want to consider cargo space if you know you want to use a vehicle to do a lot of markets. Keep an eye on that number when shopping. Heated seats are nice and all, but if your vehicle is a PIA to pack, it’s just going to cause stress.
You  don’t mention the model of the mom wagon, but the Mercedes model E All Terrain has a listed cargo capacity of between 640 and 1800 L (ish), or about 22-63 cu ft for the Imperial users. My Pacifica has 32.3 cu ft just behind the third seat, and if I fold down both rows of seating, I can get 140 (ish) sq ft. My setup is very lightweight and compact, and because my 4 day sales are all indoor ones, I don’t need to pack a canopy. I have full use of my rear view mirror.
I have some friends who initially bought a crossover, thinking that they didn’t really want a full sized SUV but wanted the packing space for doing markets. They found it to be quite cramped and difficult to pack, especially when you don’t have the patience to Tetris everything perfectly after 4 days of selling. They wished they’d gotten something with more cargo space, and I believe they did go with something larger when it came time to purchase their next vehicle. 
 

I just want to add, if its not been said already, that its not just drying fast you should be concerned with.  More, drying EVENLY.  Its worth it to take an extra day or two for something to dry to make sure it dries evenly.  Hardiebacker ware boards help me a lot with that - I can wet them down to slow drying down or leave them dry when that's not necessary.  I like to spritz the hardiebacker ware boards a little even so, so it doesn't immediately suck all the moisture out of my base. 
I still use bags when drying so I can control the drying process.  Yes it slows it down - but it guarantees that I don't get something drying too fast or on one side faster than the other.  I'm working in a studio in dry Tejas that has fans going all the time in the room where things sit to dry.  NOT covering something that is nearly leather hard is a great way to mess your stuff up at the very last minute.
One way to handle the impatience is to simply work on something else all the time, so you have a continuous stream of stuff that is drying and stuff that is new and stuff that is ready to move to the greenware area awaiting the next kiln load.

Thanks both:) Seems like I am on the right track . Thanks for the excellent tips! 

My reclaim slabs are ~2" thick, about same as yours.
It does take several days for them to dry out! I load them up with as much reclaim as I can heap on top without it oozing over the edges.
I've found it helps to prop up the slabs so air can circulate underneath, for the plaster will absorb water up to the point where they are saturated, then they can take more as moisture evaporates off the exposed edges and underneath. The reclaim dries quickly at first, then slower as the plaster becomes saturated. If I had extra plaster slabs, I'd rotate the reclaim to dry slabs!
My slabs have been in service for over four years now, seems they work just as well as when new.
They're much lighter once fully dried out - they don't feel as cool when fully dry, and there's the mineral fuzz - efflorescence.
Eventually, the plaster may get crumbly and it will be time to make new ones? That's what I've read here somewhere...

My opinion, grouping is the way to go*. Set those with some experience on "guided practice" tasks - things they can do mostly right without direct supervision - whilst you work with the beginners. My opinion, about twenty minutes is a good interval; set your beginners on guided practice and move to the next group. Repeat, repeat, where you are actively teaching most of the time, but not all the time, for there has to be some casual mixed in.
I've found twenty minutes is about right for everyone, kindergarten through graduate school. Change instructor led or assigned activity every twenty minutes or so.
Independant practice being the exception, of course, when the student is driving, they decide.
Some class sessions (assuming 120 minutes), you might have four groups you work with, leaving forty minutes for everyone activities.
You might have three, four, or more different activities happening at the same time.
Interesting that there's nineteen wheels and twenty-five students!
Several weeks into the semester, perhaps there's no one having to wait for a turn on a wheel?
Naturally, the beginners would require more guidance, still, nice to give each student some attention.
Mixed groups can be wonderful!
The experienced students can see where they once were, the beginners see where they might go...
Any road, I'd think the first session begins with clearly defined expectations of safety and clean-up, how work is evaluated and grades are assigned, and getting along stuff, like store your stuff responsibly, don't handle others' work, etc.
The more specific the objectives, the better, my opinion**.
However, as an Art class, there's un-measurables, which have to be ok.
Back to safety, I don't get how these things are assumed:
Always take your foot off and away from the pedal before standing up.
Shut the wheel off before stepping away, every time.
Never, ever, reach down past the wheel's edge into the pan whilst the wheel is moving, not ever.
Always set tools down such that the sharp bits aren't facing up.
How to (and how not to) work with sharp tools (including that metal rib!) such that they aren't driven into one's self or someone else.
Don't eat glaze.
Don't make dust inside.
etc.
*Planning the groupings, their activities, and the transitions can take time and effort.
It does take time and effort.
I coached swimming for over twenty years. My opinion, there should be something different happening in each lane, most of the time, where I'm working directly with a lane or two, most of the time, whilst the other lanes are doing "guided practice" - stuff they know how to do, mostly right, and don't need my direct supervision/teaching to do.
I needed detailed notes to plan: what each swimmer could repeat for each stroke and distance; what specific skills needed work for each swimmer, each stroke; what skills were fully mastered; what each swimmer liked best, et cetera.
Orchestration.
Coordination.
The kids see that they are getting individualized programming, that there's something for Them every session; sometimes working on their favorite thing, sometimes working on their weakest skill. They can make the interval in their lane, and if not, they're moved to a better fit.
One doesn't get more attention because they are gifted. One gets attention because they show up and participate. The more you show up, the more attention you get.
I see most programs have the coach/coaches standing around on the deck while all their swimmers are doing the same thing! They aren't teaching, they're not engaged. The sets are typically designed for the star, and the rest hang on the best they can. There are "bad" habits repeated, over and over without intervention.
How I do go on!
**Specific! Wedge two pounds of clay such that the bubbles are squeezed out and the clay is homogenous enough to easily center in less than a minute (where the clay starts with bubbles in it and a bit dry on one side), for example.
Throw a uniform (top edge is uniform height within a millimeter, wall is uniform thickness within a millimeter) cylinder 200mm tall, 75mm wide, where the walls are five mm thick, for example...

Crazing has very little to do with your cool down rate. If you slow your cool and it appears to get rid of a crazing problem, you’ve likely only caused a crazing delay. A shock test will still bring it out. Crazing is caused by COE values that differ too greatly between clay and glaze. If this is your first test of using Frost instead of the Standard 365 clay and all your usual glazes have crazed, that just means the 2 clays have different COE’s. That’s not unusual at all. 
If you want to keep using the same glazes, you’ll have to adjust them all to compensate. If the crazing is slow to emerge and the crack pattern is a larger one rather than a covering of fine lines, chances are the glazes won’t need a lot of adjusting. That which bodes well for keeping the character of the glazes intact. It’ll be a little bit of work with a test sieve to hone in 10 glazes, but it’s doable. 
If you’re going to use glaze software to help narrow the project down, some notes about comparing COE values:
1) Using calculated COE values won’t eliminate physical testing, but it’ll cut down the work and materials used. 
2) COE values aren’t absolute numbers. They’re only a snapshot of a measurement taken under a very specific set of circumstances. If you change the circumstances, you get a different value. They’re good if you’re adjusting a glaze without adding or removing any ingredients, only changing quantities. Also worth noting that because of this, different glaze softwares use slightly different COE values in their source tables. If you’re looking at a clay manufacturer’s suggested COE range for glazes, make sure you’re using the same software they are. Many manufacturers have stopped offering these suggestions though, because they tend to cause more confusion than they help with.
3) You don’t want to match coe values of your glazes to your clay. That results in more glaze flaws. Knowing that you need to move your existing glaze COE values higher or lower is the important bit here. 
 

Laguna gives COE figures for their claybodies, I realize they probably are not super accurate but they would probably be okay to look at for a ballpark range. Frost is posted at 6.99 which is really high compared to most of their claybodies which in theory should mean it does not require a low COE glaze. Also, the ingredients used to make it are minimal, halloysite, nepheline syenite, silica and bentonite. I don't recall reading anything lately that said those materials have had any major chemical changes.
Could you post a picture of one of the mugs with the "Strange crazing, like a single almost stress looking crack down the side..." and the glaze recipes you used on those. And then a recipe for one of the glazes that had regular crazing. 
Have you contacted Laguna with the batch number and asked them about the issues and if there have been any changes to the claybody? I'ld send them some photos of the cracks and crazing along with corresponding recipes also and see what they have to say.

If you’re finding your plaster slabs are saturated and you’re in a humid area (England, ahem), put your slabs next to your kiln when it fires to take advantage of the heat. 

My reclaim slabs are ~2" thick, about same as yours.
It does take several days for them to dry out! I load them up with as much reclaim as I can heap on top without it oozing over the edges.
I've found it helps to prop up the slabs so air can circulate underneath, for the plaster will absorb water up to the point where they are saturated, then they can take more as moisture evaporates off the exposed edges and underneath. The reclaim dries quickly at first, then slower as the plaster becomes saturated. If I had extra plaster slabs, I'd rotate the reclaim to dry slabs!
My slabs have been in service for over four years now, seems they work just as well as when new.
They're much lighter once fully dried out - they don't feel as cool when fully dry, and there's the mineral fuzz - efflorescence.
Eventually, the plaster may get crumbly and it will be time to make new ones? That's what I've read here somewhere...

Hi Kit,
Welcome to the Forum.
Good Question!
The very little work I've done with two clay colours, I've thrown as usual, then trimmed away the surface to reveal the un-smeared clays underneath, and then go light on burnishing.
From there, as I typically touch every piece with sandpaper after bisque*, I'll give the two-colour a light scuff to remove any burnishing smear.
Hopefully, someone who does a lot of agateware/nerikomi work will chime in here...
*I sit outside with my P100 mask on, shop vac and two buckets of water handy.
The shop vac is for me, my clothing, and the chair.
Each ware gets a wash and a rinse, then enough time to fully dry afore glazing.
It's a habit - any rough spots get a quick swipe with 220 grit.
I chatter most of my work; it's worth it to me to sand smooth the chattered portions, then rinse away the dust. I like the crisp chatter mark edges, and any (any!) dust in the marks make glazing difficult; the rinses takes take of that.

My reclaim slabs are ~2" thick, about same as yours.
It does take several days for them to dry out! I load them up with as much reclaim as I can heap on top without it oozing over the edges.
I've found it helps to prop up the slabs so air can circulate underneath, for the plaster will absorb water up to the point where they are saturated, then they can take more as moisture evaporates off the exposed edges and underneath. The reclaim dries quickly at first, then slower as the plaster becomes saturated. If I had extra plaster slabs, I'd rotate the reclaim to dry slabs!
My slabs have been in service for over four years now, seems they work just as well as when new.
They're much lighter once fully dried out - they don't feel as cool when fully dry, and there's the mineral fuzz - efflorescence.
Eventually, the plaster may get crumbly and it will be time to make new ones? That's what I've read here somewhere...

I have been searching for a bubble free glaze on and off for many years. There's an old thread here -
 

A lot of the time I can't even understand what I am trying to say in my old posts (and I wrote them xD) but if you want some context it might be worth a read. I would like to thank everyone for being so patient with me over the years, slowly stumbling about in the dark trying to understand ceramics. I very much appreciate it  
For the "Too Long Didn't Read" the old thread tried -
Removing as many ingredients with loss on ignition as possible. Glazing an already vitrified clay body. Using holds and drop holds. Changing fluxes, silica and alumina amounts. In the end nothing really seemed to produce satisfactory results except reducing silica in the recipe. There seemed to be a link between silica joining the melt and bubbles being produced.
 
Recently I have found a few more papers on this subject and wanted to share my findings. The first was in Transactions of the American Ceramic Society Volume II, Blisters in Glaze - Stanley G. Burt. https://archive.org/details/transactionsofam02colu/page/138/mode/2up
Back then they seem to have a lot more issues with sulphates coming from the fuel but Burt seems to find the same thing with silica kicking out gasses dissolved into the glaze.

 
 
It seems to be confirming that the more silica you have in a glaze the less dissolved acids/gas it can hold which ends up coming out of solution. 
After a bit more searching I managed to find the Seger paper in question in The Collected Writing of Hermann Seger Volume II, The Defects of Glazes and Their Causes - IV The Operation of Sulphates in the Glaze. https://archive.org/details/gri_33125001394697/page/582/mode/2up

 
 
Again he comes to the conclusion that silica is the main offender for producing bubbles. In a previously bubble free glaze remelted onto an already fired body it will take up silica from the body and produce bubbles in the glaze.
Back in Burt's paper in the discussion at the end he talks about a few ideas to remedy the problem. One is to have a glaze higher in silica which is the opposite to what I have found. His reasoning seems to be that the glaze would have less action on the body so reducing any silica coming from the body into the melt.
His second idea is to fire the bisque in reduction to volatilise the acid removing it from the body before the glaze firing. 

 
 
Seger also seems to find reduction is one remedy to the problem but does it in the glaze firing. The Collected Writing of Hermann Seger Volume II, The Influence of Sulphuric Acid on Glazes and Bodies. https://archive.org/details/gri_33125001394697/page/644/mode/2up

 

Some interesting things to think about, especially trying to do a reduction bisque firing and seeing if that produces any different results in the glaze. I am not sure I agree with Burt that a glaze higher in silica will produce less bubbles but maybe that combined with a reduction firing could produce results. Now I just need come up with some tests and see what happens.

This sort of thing seems to rest on exactly how high you want to push the standards. Often when dealing with Seniors, it is about results. You have not mentioned anything about the curriculum, the hours for the class, how often it will meet, or the possibilities of open studio for non class practice.
I have worked a lot with Seniors and non degree adults in the Saturday morning classes I started teaching in the late 90's. I was a HS teacher with budgetary problems that I solved by teaching the Saturday Winter Cabin Buster class for adults within the district staff. That expanded to area adults wishing to get out for a 3 hr class in ceramics. . . mostly to have fun. However, being a teacher it was about teaching technique, aesthetics and studio processes. But above all about having fun. I started each class with a demonstration of either handbuilt or wheel throwing processes. On the wheel I taught that there were 3 basic forms: cylinder, bowl and plate from which all others were created. We covered wedging techniques, handbuilding with pinch pot, coil, slab and extrusion. Including handbuilding allowed for more use of the time, and allowed them to explore other methods of forming. The last week of regular class was all glazing, with the glazes mixed up, demo of dipping, pouring, and other techniques as question and need presented itself. The class only lasted 6 weeks, but people returned nearly every year for another 6 weeks. My budget supply problems were solved, and we were able to purchase more wheels until we had 6 in the room. I recently was in the ceramics classroom at that HS to help with the adult class that has about 8 to 14 adults and 6-8 HS students that serve as assistants and sometimes work on their own stuff. It is basically a guided open studio which is where it had evolved in my later years there. 
My point here is that in order to give more specific input we would need more information on the time frames, both in each day, week, and semester. It would also be helpful to know if you are interested in expanding the class to include some handbuilding or would only want to hold things to the wheel. I believe handbuilding opens up much more creativity and greater understanding of clay especially when dealing with combined forms of wheel thrown and handbuilt hybids,
 
best,
Pres

About 250 round trip--quickly decided it wasn't for me! (not a commercial biz & I hated the packing/unpacking/hauling/setting up/tearing down/packing/hauling/unpacking of shows and ended up hating even the mundane routine of schlepping around to local (w/in 60 mi ) shops. 

My reclaim slabs are ~2" thick, about same as yours.
It does take several days for them to dry out! I load them up with as much reclaim as I can heap on top without it oozing over the edges.
I've found it helps to prop up the slabs so air can circulate underneath, for the plaster will absorb water up to the point where they are saturated, then they can take more as moisture evaporates off the exposed edges and underneath. The reclaim dries quickly at first, then slower as the plaster becomes saturated. If I had extra plaster slabs, I'd rotate the reclaim to dry slabs!
My slabs have been in service for over four years now, seems they work just as well as when new.
They're much lighter once fully dried out - they don't feel as cool when fully dry, and there's the mineral fuzz - efflorescence.
Eventually, the plaster may get crumbly and it will be time to make new ones? That's what I've read here somewhere...

It was a great find especially since it came with an Orton vent as well.  I was just hoping to fire more than one bisque load before having to do all this troubleshooting! 

At one time about 1,100 mile each way to a show twice a year for 24 years straight. It was one of my best shows. Gave it up 6 years ago. I did AZ,NV,UT,Wa,CO, shows for many years. A few where two days trips to get to show and two days back and one was always 3 days to Denver. I did that for 5 straight years to Denver.  Last August I did my last Anacortes art show after about 30 years of them (retired from show which was my best)-that was 800 miles each way. I began a few years ago spliting into a two day drive up and and two back .Gave it all up last year no more traveling shows for me. I still have a twice a year wholesale order (20 boxes) I drive 4.5 hours each way to drop off. Its less than 1/2 the distance to the gallery it goes to. (its the gallery owners brothers house) They get it the rest of the way. Its one Forester full of pottery stuffed to the gills. At one time I drove over 20,000 a year on my old van doing art shops in the western states.In the last decade it was under 10,000 . Now its under 2k dropping off local orders. I do not miss it except for the large amounts of cash returning home with. That was always a nice feeling after slaying the Dragon at a big show.I was smart and saved much of it for later in life.Love my Roth 

No new questions in the pool for the QotW, so I will pose a new one.
I have been amazed lately of the distances that some of you cover when doing wholesale/retail and shows in general. It would be interesting to know how far you travel for these sales. If you have any stories about these travels, please include them also. 
QotW: How much area/distance do you cover when selling your ceramics?
My history of sales is pretty simple. For years I sold at festivals and other venues in Blair and Center county in PA. I was frequent enough that folks returned to my booth after buying in previous years just to buy from me. At the same time though, I had and ongoing sales outlet with a religious group that needed chalices for meeting and ceremonies. Later they came to need patens also as they created an award in honor of one of their founders that led to me selling @20 communion sets a year and sending them to seminary schools all over the nation. Lots of work, and lots of shipping/ handling problems to be solved and I continue to do so. I have now created these for over 40 years. I have also sent some as far as Europe, Australia, and South Korea. 
best,
Pres