Chilly

@kswan can you forward your old email to the new one, or would the integration be clunky? I’m not as familiar with Hostinger’s back end.
I recently had to do a big cost comparison, and if you buy your hosting through weebly, they charge the most. Note that if you like the templates on weebly better, you can buy your hosting (which is your custom domain name) through Hostinger, or anyone else, and still build your website with weebly. 
The host/domain name is like a camping spot, and the website is the trailer/tent whatever that you park there. The trailer can be shifted from place to place. Many providers like to offer an all in one service for convenience, but on a technical level, they are separate. 
To extend the metaphor, a website that you build for information and contact only would be the equivalent of a tent or a tent trailer. They don’t do much, but you can park those suckers almost anywhere, usually for cheap. If you want to have an e-commerce website, that would be the equivalent of a fancy RV with bump outs and all the fancy stuff.  The fancier vehicles need a large enough camping spot (host) to handle the traffic, and the fancier camping spots will offer power hookups so that you can get the most out of your experience. 
 

Thank you for this link.  I started reading it late at night, and couldn't "put it down" as they say.  Don't know that I understand ( or will remember much, but so far it's fascinating.

Do you own this lovely creature? 
You can get an idea of firing temperature by touching your tongue to the bare clay on his feet,  If it is low-fired, it will suck all the moisture and try to stick itself to you.  If it is hi-fired it will not, and it will stay wet.

Depending on any Internet restrictions in Malawi this might work, it’s how I read the book:
https://archive.org/details/pioneerpottery00card
 
l’m in over my head if I start talking what type of glass, what proportions, and the procedure for such a glaze. Stoneware potters of the southeast USA  were well know to use this type of glaze  a couple hundred years ago. 

You need a book that is written for UK available materials.  John Britt is fine in principle, but contains stuff we can't get.
The book you need to look for is Glazes Cone 6 by Michael Bailey.  (A quick google didn't find any for sale at a sensible price, but they do come up occasionally.  I bought mine 5 years ago, second-hand but brand new.)  

Potters have their own kind of white powder problems. 

I think that Tony Hansen's demonstration of the fallibility of ChatGPT is worth posting.
ChatGPT is completely wrong about the cause of glaze crazing!
https://digitalfire.com/picture/3159
... a fine example of ignoring the elephant in the room.
... a fine example of ignoring the elephant in the room by ChatGPT
PS It reminded me of a very old software engineering joke (1970s?).
A man was been taken on a cross-country flight in a helicopter. During the flight the ground became completely covered in dense fog, and the pilot became lost. The eventually came across the top of a office tower sticking above the fog, and they hovered nearby. The man attracted the attention of somebody in the office and held up a placard saying "where are we?", and received the answer "in a helicopter hovering 60ft above the ground".

The pilot said "OK I know exactly where we are, and set off towards their destination.
Later he explained "the answer you got was technically correct and not the slightest help, so obviously we were at the Microsoft help centre whose location I know".
Maybe ChatGPT is another help centre.

Separate the two processes: 1) filling the seams/gaps, and 2) filling the mold.
1) pour a small amount of slip into the mold and use a brush to push the slip into the seams/gaps. Wait a minute or two. Use the brush a second time to push the slip into the seam/gaps. Wait another minute or two. Do the same thing a third time if necessary. Wait another minute or two.
After you see the seam/gaps sufficiently filled THEN go ahead and start filling the mold. Go slowly to make sure your gaps are filled and no slip is leaking out. 
If it looks like you filled the gaps sit back and breathe a sigh of relief.
Right now my purse vase molds are just plaster parts held together with straps and rubber bands. The shape, 8" wide, 8" tall, 3" deep, is really susceptible to blowout if I forget to seal the seams. The above method assures that the slips stays in place and I get a decent casting without a lot of mess or stress.
 
 

As I find pictures helpful in forming memories, not a dissimilar 2-stage process to that in
Inlaid Slip Casting
https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/Inlaid-Slip-Casting

The only thing I would add, is if you want a defined line between different colours of underglaze AND are going to brush on the clear glaze, we have better results with  firing before brushing on the glaze.

I see!! (As I say, I am very new and am still trying to learn about clay properties, language ect! So that’s really useful). I think I was under the impression that firing to eathernware, being a slightly higher temp would make the piece more durable and less prone to breakage than if it was left at bisque! That is useful to know that I should be looking at the range of temperature my clay should be fired at to help gauge. 
Thanks. 

Thank you Chilly, that’s helpful:) 

I think you've got it.
Horizontal cracks within the glaze (acting as reflectors) would affect the colour (by reducing the distance light travels in the glaze) even if the colour is uniformly distributed in the glaze.
The small amounts of colourants in copper-reds might also be significant.
Snowflake Crackle https://ceramicartsnetwork.org/ceramic-recipes/recipe/Snowflake-Crackle
Color
The first thing I noticed when I did color tests with the usual colorants and opacifiers (copper carbonate, red iron oxide, chrome oxide, stains, Zircopax Plus, etc.) was that, as the color improved, the crazing ceased. This was because all oxides have expansion/contraction rates and adding them changed the CTE of the glaze enough to stop the crackle effect. I ran more tests with very low levels of colorants (under 1%), which kept the crazing yet still produced a nice color.
PS Do you have any similarly fired pots which  didn't show this effect? An ice-water stress test might be interesting.
PPS I wanted to suggest that the relative freedom from cracks near the edge of the bowl was a significant clue, but couldn't word it right.
So here is a picture of the effected -- with a smaller crackle size and hence smaller outside ring.
I've been testing a Snowflake crackle glaze. Here it is over coloured slip
https://www.reddit.com/r/Pottery/comments/8jjxxi/ive_been_testing_a_snowflake_crackle_glaze_here/

The only thing I would add, is if you want a defined line between different colours of underglaze AND are going to brush on the clear glaze, we have better results with  firing before brushing on the glaze.

Big plan for this summer is to get my partner fit and well and back out doing stuff after 18  months of surgery/partial recovery/surgery/partial recovery/surgery.
I'm going for a week's "summer school" with the Guild of Weavers, Spinners and Dyers - There will be with 300 people spread over 18 different courses.  I will be dyeing with natural dyes.  We will be staying at an agricultural university in Shropshire.
The rest will be filled with hiding from the sun - sun rash is really irriting - in all senses, gardening, spinning, weaving, dyeing and volunteering.  Oh, and some pottery.

When I make a plaster form it usually takes 5-7 days before its completely dry. I place plaster forms on plastic grates that allow air to freely flow around the object. If I forget to prop the piece properly and leave it on a wood board, or plastic sheet, it will develop a brown/green mold where it was in contact with the wood or plastic.
"Brushing off" - unfortunately this is subjective. When you pick up a plaster mold/form you will usually have some white powder on your hands/fingers. An indication that the plaster form is deteriorating would include an increasing roughness to the plaster surface.
 

My thoughts after reading that you can get the product on the Big river website.
Great to read that there is so much love and caring in our Community. 
 

@CharliesMomma, since you now know what was used another option would be to purchase another kit and make some test pieces with it.(just use something from around your house to make some little pieces with creases, maybe wrap them with saran wrap to get the creases) Wrap them up and leave them in tissue and see if they develop the same discolouration. If they do then finish drying them in the same way as your original pieces. Test those pieces with a quality plaster mildew/mold remover and leave them alone for as long as possible ( a year at least) then check for deterioration of those pieces. I would also contact a plaster restoration company if there is one near you and ask them about this, have them test the sample pieces.

Until you hear back from them I would put them in an area with lots of air circulation to help dry them completely.

This is such a good thing to do.  My usual saying is "It won't come out of the kiln any smoother than it goes in". 
You could also try gently wiping with a barely damp sponge.

When I've used Murphy's soap I used a quite damp sponge and applied on a thin layer. I let that dry then repeat with a bit of light buffing between coats. Keep adding coats until water beads off the surface. I then bought some mold soap, for me it works better. (I used Murphy's on a whole fish once, as the plaster heated up it made a nasty smell of hot stinky fish combined with Murphy's, Can't use the stuff now without gagging a bit, probably too much info)

This is such a good thing to do.  My usual saying is "It won't come out of the kiln any smoother than it goes in". 
You could also try gently wiping with a barely damp sponge.

Big plan for this summer is to get my partner fit and well and back out doing stuff after 18  months of surgery/partial recovery/surgery/partial recovery/surgery.
I'm going for a week's "summer school" with the Guild of Weavers, Spinners and Dyers - There will be with 300 people spread over 18 different courses.  I will be dyeing with natural dyes.  We will be staying at an agricultural university in Shropshire.
The rest will be filled with hiding from the sun - sun rash is really irriting - in all senses, gardening, spinning, weaving, dyeing and volunteering.  Oh, and some pottery.

Big plan for this summer is to get my partner fit and well and back out doing stuff after 18  months of surgery/partial recovery/surgery/partial recovery/surgery.
I'm going for a week's "summer school" with the Guild of Weavers, Spinners and Dyers - There will be with 300 people spread over 18 different courses.  I will be dyeing with natural dyes.  We will be staying at an agricultural university in Shropshire.
The rest will be filled with hiding from the sun - sun rash is really irriting - in all senses, gardening, spinning, weaving, dyeing and volunteering.  Oh, and some pottery.

Big plan for this summer is to get my partner fit and well and back out doing stuff after 18  months of surgery/partial recovery/surgery/partial recovery/surgery.
I'm going for a week's "summer school" with the Guild of Weavers, Spinners and Dyers - There will be with 300 people spread over 18 different courses.  I will be dyeing with natural dyes.  We will be staying at an agricultural university in Shropshire.
The rest will be filled with hiding from the sun - sun rash is really irriting - in all senses, gardening, spinning, weaving, dyeing and volunteering.  Oh, and some pottery.