I think many who come out of our education system have never been schooled in "real world work ethics & economics" . Many students can't balance a check book but want a 100k/yr profession.
Ceramics is a little different than most professions, in that there are fewer limits on structure and more on creativity and personal expression being taught.
There are fewer hard facts and information about ceramics being taught about what makes a technically acceptable ceramic object compared to a welding course at a tech school.
A welder taught at a tech school can get a $50-$80k/yr job as a industrial welder and a pottery grad has yet to learn how to set up a booth at a craft fair, get a sales tax number and plan inventory.
One field has stronger guidelines and structure than the other. No one needs a coffee mug but a welders skills may have life and death consequences.
If there is no educational structure, create it for yourself and demand from yourself the quality education that other fields demand.
Math,finance,geology,history,marketing and more, are the foundations of a pottery career.
It takes years of hard work and learning and still no guarantees of monetary success, but the self discipline will be it's own reward.
Don't expect to go to the front of the line, without time and hard work, even with all that, you maybe far from the front of the line.
Why are so many beginning potters asking elementary questions on this forum, if there are well rounded courses teaching in-depth ceramics.
Something is missing, such as planning a long road trip and not filling the gas tank.
I recently had a young lady, just graduated from HS come in to ask for a job. She had no idea what was needed for a retail job. She had no training in handling money or what going on in a retail store, she just wanted a job.
When I told her I had nothing she smiled a left as if asking for a job was all she had to do, maybe before going to apply for welfare.
No, the radiant heat from coals/embers is where you need to investigate. If you have a charcoal fire pit or can have access to making a small cooking fire on the ground, that would be the better way to learn from.
I think you have missed a point in the cooking method. They did not have a gas flame. A gas flame is a relatively short, high temp flame where as a wood and ember fire is slower to develop the flammable gas that ignites into a long slow cooking flame.
Most of the heat is derived from the hot coals which is radiant heat.
The second part is that most cooking is wet cooking, where the liquid in the pot, keeps the vessel cooler that that of a gas flame cooking.
I have even seen on a surviver show where a plastic soda bottle , filled with water was suspended over a low flame wood fire and boiled the water without burning the plastic bottle.
Stove top is out of the question, in this scenario.
The face jugs in the article were of a different style than what the potters of NC & SC make.
Traditional face jugs are ash glazed using fired cones for the teeth and porcelain shards for eyes.
Now if we look at the cultural history of the face jug, we find it's use as a way to keep the social group, morally aware of the consequences of doing evil to one another.
When a person died, a face jug was placed on the grave. If the person were a good person in the community, the face jug would remain intact for a year, then broken to let the soul rise to heaven.
If they were evil in the sight of the group, the jug was broken before the year was up and this condemned their soul to hell.
Folk potters, trying to get a leg up on the competition, decorated the whiskey jugs in distorted faces to attract more jug sales.
Contemporary potters saw that the older pieces were being collected as art, so they began making their own collectible versions and so on....
Most collector in this area, want the traditional style ash glazed face jugs.I doubt if the ones featured in Artnews would sell here but if this were to be a worthy trend, I'm sure some potters here would take note.
As in the "Garlic Plate" thread, if people want them, we'll make them.
The question becomes,what percentage of ourselves are we, potters for ourselves or potters for the marketplace.
As others have mentioned, the clay is over worked. Study other youtube videos that show proper pulling and collaring. The shoulder of the pot has become fatigued and can't support the upper neck and rim.
If this is going to represent us as ceramic art in the cultural centers of the future, we have the same of chance of having a thriving pottery craft future, as the dinosaurs surviving their apocalypse.
You need to learn what clay that's local can do. Some of the most beautiful ceramics are based on low (1800 deg f) clay bodies that are pit fired. Learn what the locals are doing, where they get their clay and how they prep it, then how they fire it. Just because it maybe tourist cr@#@#$p doesn't mean it's not good workable clay, though at a low temp.
Learn how they make their slip for decorating and what wood they use for the firing.
If you look up pit firing you'll see what beauty can be achieved in low temp ware.
After that you can develop your own expression in clay and there maybe other clay beds that can go to higher temps.
Most of the world still uses low temp clay bodies for everyday uses and can be better than higher temp stoneware for certain uses.
Refiring too quickly will crack/break/ screwup pieces.
You've got too much heat too quickly and the fired piece can't relieve the stress the heat puts on the piece. There is a temp range between 900-1200 deg f that the glaze.glass and the claybody go through quarts inversion. This is the critical temp but there are other temps lower to consider.
Wide plates & uneven temp will also bust'em up
Long and slow 200 deg/hr to 900 deg then 100 deg/hr till 1200 then back t0o 200deg/ hr to end for refires and still you may loose some.
You don't know how the bisk was made or fired so there might also be issues there as well.
I've had sitter cone fuse and over fire. Seems that the kiln sitter drop bar didn't drop in time and the cone fused holding the kiln sitter rod from moving. Check to see if the drop bar has any debris.
The rim of the piece has melted more(usually does) and healed over, where as the rest of the body looks under fired. Maybe a soak at the end of glaze firing for 10 or 15 min might help along with a slower bisk to 04