shawnhar

All my old wares including mugs have lots of wear on them. Unless it’s brand new, stacking alone does a nice job of scratching everything. Whether production or hand made they wear. You are very fortunate.

I don't think cone 10 work is inherently more durable than cone 6 work. I've got pots from both cone 6 and cone 10 firings that have etched from the dishwasher, and pots from both that are just fine. I've also got some cone 3 pots that are durable. A good glaze is a good glaze, regardless of the firing temp. Durable commercial dinnerware is made at a wide range of temps.

The dishwasher is harsh on all. Alkalinity, the insidious repeated process of removing a brick from the structure and replacing it with a smaller brick so to speak weakens and wears away ALL wares over time. Even those bought from the store. All accelerated by the dynamic action of the velocity of the water. Hey, water in motion, seems I remember something about it carving out the Grand Canyon. I like to believe it’s reasonable to try your best to make durable wares and glazes ……… it seems to be a seasoned and reasoned approach for experienced potters IMO.

I would! (And I did)
I love books for learning things like how to wire electricity, or replace the ecg valve in your car, but I HATE books for learning movement/skill things, like pottery or guitar.
Find what works for you, and don't be afraid to fail up.

As Neil notes, 15 hours is an average time for a 1227 in good condition. We have 2 of them dedicated to glaze firing at the community studio I manage, and the timing generally is around 13-14 hours when the elements are new. As the number of firings progresses, the times stretch out to 18-20 hours, which sometimes exceeds the time available on the dial. That is the clear indication I need to requisition funds from park HQ for new elements. So, in this test firing of your kiln, be prepared for it to take more or less time than expected based on potentially unknown condition of the elements.

I'd set it to 15 hours, with cones in the peep holes, and keep on eye on it. Then you'll know for sure. There could be significant variation based on how you load it.

I think the position of those lumps and ridges on the strap handle are what made it comfortable for the customer, having made a few unconventional mug handles myself. Don’t fash y’self trying to replicate and prepare the customer for a reasonable facsimile. 

I am willing to bet that the customer is attached to the large and “strappy” shape, which is a very comfortable shape for a handle, rather than the specific ridges and valleys. Shape is something you can control, so I would focus on reproducing that aspect. “Strappy” meaning wide and flat. 

No freebies unless it was my fault, but I give them the option to replace the one they broke for half price.
I look at it like a wholesale price for customer retention/good will and it's less than the cost of advertising with a more positive interaction.

@shawnhar People can go through artistic growth spurts! A lot can happen in 6 months. But if the way it’s worded doesn’t work, folks should pick something that does. 
I think you did the wise thing in letting him know the situation, presenting 2 options you’re willing and able to deliver, and letting him decide from there.  I think when you encounter a problem in your business, the best approach is to deal with it honestly and promptly. If you can own that something went left and present fixes, it helps people feel looked after, and like they’re working with a professional. You don’t want to rush a response, but you don’t want to delay it too much either. 
And I think there’s nothing wrong with amending your shop policies in the light of new information/occurrences. If this person decides to choose from the remake ones, you can then decide if it’s a fix you’re willing to offer in the future, or if you just remove any one off pieces from your replacement policy, or something else.
 

Thanks all.
 I don't usually make mugs like that, but sometimes I like to add an unusual one to the mix, sometimes it's just the handle, sometimes textured with slip, etc... to make a unique item. There are lots of folks that buy those simply because they are really different, in fact those usually sell faster than the "normal" ones.
 My policy was assuming they would break a regular one, (I make 3 shapes) and just grab one off the shelf. The customers are well aware of the fact that reproducing one of the weird ones is not really possible and I have had folks just straight up buy another mug because they broke a weird one, but this man was very attached to this mug and asked me to try. We discussed it and tempered expectations. I',m going to make 3 and he can pick the one he likes the best, or one from the shelf.
@Babs He bought it this past Winter, the picture is one I took when I made it.
@Callie Beller Diesel That is actually a mug I made this Winter so I'm not sure how much my work has "evolved" since then, lol, and yes, the weird handle was the biggest factor.
@GEP I would maybe tell this customer to pick another mug, but I am really low on stock right now and they are all "normal", the unusual aspects of this one was the reason he bought it, so I agreed to try, plus he is the only person to  ever ask for it. I can reproduce the technique used to make that handle,  basically slapping the clay down like you would if you were going to make a slab without a roller, but it results in a pretty random set of ridges and valleys.

Thanks all.
 I don't usually make mugs like that, but sometimes I like to add an unusual one to the mix, sometimes it's just the handle, sometimes textured with slip, etc... to make a unique item. There are lots of folks that buy those simply because they are really different, in fact those usually sell faster than the "normal" ones.
 My policy was assuming they would break a regular one, (I make 3 shapes) and just grab one off the shelf. The customers are well aware of the fact that reproducing one of the weird ones is not really possible and I have had folks just straight up buy another mug because they broke a weird one, but this man was very attached to this mug and asked me to try. We discussed it and tempered expectations. I',m going to make 3 and he can pick the one he likes the best, or one from the shelf.
@Babs He bought it this past Winter, the picture is one I took when I made it.
@Callie Beller Diesel That is actually a mug I made this Winter so I'm not sure how much my work has "evolved" since then, lol, and yes, the weird handle was the biggest factor.
@GEP I would maybe tell this customer to pick another mug, but I am really low on stock right now and they are all "normal", the unusual aspects of this one was the reason he bought it, so I agreed to try, plus he is the only person to  ever ask for it. I can reproduce the technique used to make that handle,  basically slapping the clay down like you would if you were going to make a slab without a roller, but it results in a pretty random set of ridges and valleys.

I have a policy where I tell folks I will replace their mug, spoonrest, sponge holder, etc... all the day to day use stuff, for half price if they bring me the broken pieces back.
In 3 years no one has taken me up on it. Well, today it happened, but yikes, the one time the person takes me up on my offer... and it's "that" one! I told the customer it will never be the same, there is no way to recreate that handle, sigh...
 

I have a policy where I tell folks I will replace their mug, spoonrest, sponge holder, etc... all the day to day use stuff, for half price if they bring me the broken pieces back.
In 3 years no one has taken me up on it. Well, today it happened, but yikes, the one time the person takes me up on my offer... and it's "that" one! I told the customer it will never be the same, there is no way to recreate that handle, sigh...
 

I have a policy where I tell folks I will replace their mug, spoonrest, sponge holder, etc... all the day to day use stuff, for half price if they bring me the broken pieces back.
In 3 years no one has taken me up on it. Well, today it happened, but yikes, the one time the person takes me up on my offer... and it's "that" one! I told the customer it will never be the same, there is no way to recreate that handle, sigh...
 

I recently gave away my slip mixer tank and motor and pump to another potter who could and is using it daily in her business-as well as some master molds.
I bought her SS  VMP20 Peter pugger as well. I did not ask for any $ for that stuff as its hard around here to find anyone who is in the slip making world.This stuff all went to Portland Or where slip is a thing now more than other locations.
I sold a Brent wheel last year during the begining of covid for a good deal for her (not trying to gouge any buyers) at a time when  wheels where non extistant.
Its all part of the ceramic community in a broader sense I feel ,we help one another as this is hard enough and helping others avoid mistakes is the right attitude to have

I have shows that are 80% CC sales, and other shows that are 80% cash sales. It just depends on the area and clientele. I find that a good percentage of people at art fairs understand that using a CC costs us 3%, and they try to use cash as much as possible. But by early afternoon most people are out of cash and if they really want something they're going to use a card, although they tend to apologize. At least 75% of the money that goes through my business is via credit cards, and always has been.

It's 2022, and no business should be complaining about credit card fees at this point, or adding to the price IMO. Fees have been steady at roughly 3% for years and years, so I don't know why they're suddenly having a fit about it. It's a given at this point that the vast majority of one's customers are going to pay by credit card, so you set your prices with that in mind. If someone pays cash, great, you make any extra 3% on that sale. Nearly every kiln I sell to anyone other than a school is paid for by credit cards, which means up to $200 in credit card fees with each kiln. Any discounts I give take that into consideration. I sold a large kiln last year that had over $500 in credit card fees, so that greatly affected the discounts I could give. It's a cost of doing business in the modern world, no different than the cost of shipping, packing materials, overhead, etc.
The better option to encourage cash sales is to raise your prices to cover the credit card fees and then offer a 3% discount for cash. People respond better to rewards than punishments.

Our banking laws are different here, and we’re not allowed to add a POS surcharge onto card sales.  I’ve always viewed credit card fees as part of my COGS, and just incorporated it into the sticker price. I’ve seen a few people offer cash discounts, but that’s becoming more and more rare.
Taxes are taxes, and the government gets bent at me in ways I don’t like if I don’t collect and remit.
 

If she used glass in her clay, it’s ill advised on her part. I know it doesn’t stop some people if they don’t see anything going wrong immediately, but that doesn’t make it a good idea. The coe of bottle glass or other commonly available glasses including stains and frits used in a hot shop are too distant from that of most pottery clays. I’ve gone on clay/glass rants before. I don’t know that the internet needs another one.
If you want a similar effect, you could try mixing a clear blue glaze as a paste, crumble it and fire the bits just enough so they sinter. This will keep them from dissolving when you add them to another clear or translucent glaze bucket. They should melt together for a similar effect. The Jungle Jems line does something similar I believe. 
 
 

I think You likely could recreate this effect with ordinary underglazes. Glass and ceramics just aren’t compatible IMO.

No way the VL lite can do 20lbs,  you would be lucky to do 10. I can stop it with 5. The Wisper is WAAAAAY better, but even it would probably struggle with 20lbs. You want to use large amounts of clay go with a Skutt. 

No way the VL lite can do 20lbs,  you would be lucky to do 10. I can stop it with 5. The Wisper is WAAAAAY better, but even it would probably struggle with 20lbs. You want to use large amounts of clay go with a Skutt. 

If you look closely you can see hundreds of little blisters. I think they were always there but you have finally "rubbed through" them with  your spoon and stuff can now get in there. If the "stuff" is just coffee then I wouldn't worry too much, but if it ain't coffee stains it could make you sick, so no, not food safe.
Having said that, a rock from the woods is "food safe" if you heat it up enough, just sayin, 450f heat kills everything

Roughage!