GEP

Just to echo what @liambesaw said, there do exist smaller private websites with well-curated handmade craft. https://www.artfulhome.com/ is another one. Artful Home is basically a wholesale deal for the artist, you split the retail cost with them, then you drop-ship the work to the customer. You pay Artful Home much more than you pay Etsy, in order to have your work displayed among nothing but well-curated work. The other well-curated online craft sellers that I know of also work on a 50/50 split. It’s a trade off. If you want something with lower costs like Etsy, you can’t tell them to lower the volume of work. If you want to be seen in a well-curated environment, you need to pay them for the added value of their venue. It's expensive! It should be treated it like a gallery relationship, as in you have to compete to get past their discerning selection process, and give them half of the sale.

My suggestion is to use paper clay. Paper clay will allow you to make much thinner walls that don’t fall apart. Plus the small voids left behind when the paper is burned off in the firing will help make the fixture translucent.

@allenc27 What is the make and model of your kiln? I’ve honestly never heard of a combination electric/gas kiln for pottery. Someone can correct me if I’m wrong. My understanding is that a reduction atmosphere would be too corrosive for electric elements, unless you have very heavy duty elements which are generally considered too cost prohibitive for pottery kilns. Also, if your kiln is meant to burn gas, it should not be inside your house.

@motox you might want to try oil-based clay, otherwise known as “modeling clay.” Rather than air-dry clay or the water-based clays that need to be fired. Oil-based clay is used by sculptors. It doesn’t dry or shrink. It hardens when exposed to air or when it gets cold, but it can always be softened up again by warming it, I don’t know much about making fairing models, but the car industry still sculpts car models using oil-based clay.

I recently developed a need for a pincushion. I started shopping for one, and found that all of the ones you can buy either look like they are not very functional, or they are way too cutesy for me. Then I remembered that @Mark C. had posted his pincushion design with instructions on the forum. I searched the forum and found this thread. Now I have a new pincushion that is very functional and suits my tastes. All of the materials were already in my house, so it was free too. Thank you, Mark!!

Ok, my next questions are, what is your experience level at making pots? And how long have you used this particular glaze? Glazing is a skill that takes a lot of practice. Even those of us with a lot of experience know that when we start using a new glaze, it takes a while to figure out the best way to apply it. You are brushing on a commercial glaze, which indicates you might be a beginner potter. (nothing wrong with that ... we all started as beginners!) Brushing is the most inconsistent technique for applying glazes, because it's hard to gauge how thick you have actually applied it. I think what's happening to your pots is that the glaze on the inside is much thicker than on the outside. Even if you brushed on the same number of layers inside and out, trying adding another layer or two to the outside.

When you say “glaze layers,” how was the glaze applied? Poured, dipped, brushed, sprayed?

Smithsonian Craft Show. 20 years ago I thought it was an impossible goal. 20 years from now, I'll be thinking "I can't believe that really happened."

This is another area worth exploring. Overfiring some glaze/clay combinations by just a little can cause pinholes. I developed a pinholing problem when I switched claybodies years ago, The glaze worked fine on my old claybody, but pinholed on the new one. I tried a bunch of possible fixes, and the answer turned out to be to lower my firing temp from cone 6 to cone 5.75.

I agree that this is probably not a venting issue. And that I would like to see photos of your pinholes. Can you post some photos?

I have a Miele vacuum, and use their bags and filters,

I vacuum my studio once a year, during my big studio cleaning week. I use a vacuum with a Hepa filter bag, and wear a respirator while I’m vacuuming. Even if the bag isn’t full, I throw it away when I'm done, Then I leave the studio and don’t come back for at least 24 hours. I vacuum the floor and every horizontal surface, including the tops of the radiator pipes that run across the ceiling. There will be a fine layer of dust on everything. Without a vacuum I would not get things as dust free. After vacuuming I will wet mop the floor. The floor ends up much cleaner compared to not vacuuming first, because all the clay dust does not clog up the mop water.

@liambesaw have you tried a Ruling Pen?

I loved the glass blower show on Netflix! It’s called “Blown Away” for anyone who wants to watch it.

These hole cutters will cut square or rectangular holes, one corner at a time. The smallest one is 2 cm. I have this set. They take a little practice, but do work well. https://chineseclayart.com/Store/ProductVariant?pf_id=8