PeterH

222 page thesis
TRANSFORMATION OF SIX LEAVES GLAZE TO CONTEMPORARY CERAMIC BASES ON THE TAOISM CHARACTERISTICS
https://tinyurl.com/4a48pyky
In the research process, 768 glaze recipes have been tried. A total of more than 600 kilns have been fired, and more than 20,000 pieces of products have been fired. In the early stages there were a high probability of failures. However,
the rate of finished products finally increased from 2% to 80%

222 page thesis
TRANSFORMATION OF SIX LEAVES GLAZE TO CONTEMPORARY CERAMIC BASES ON THE TAOISM CHARACTERISTICS
https://tinyurl.com/4a48pyky
In the research process, 768 glaze recipes have been tried. A total of more than 600 kilns have been fired, and more than 20,000 pieces of products have been fired. In the early stages there were a high probability of failures. However,
the rate of finished products finally increased from 2% to 80%

Cheaply available second-hand, adjust this search for your location and currency
https://tinyurl.com/mw873skd

I found the  second half of Ian Currie's book - which examines several important glazes -- very interesting. Especially as it reflects that there are many mechanisms that make glazes interesting. Online at https://wiki.glazy.org/t/ian-curries-stoneware-glazes/367

Cheaply available second-hand, adjust this search for your location and currency
https://tinyurl.com/mw873skd

I found the  second half of Ian Currie's book - which examines several important glazes -- very interesting. Especially as it reflects that there are many mechanisms that make glazes interesting. Online at https://wiki.glazy.org/t/ian-curries-stoneware-glazes/367

LOI (Loss on Ignition) https://digitalfire.com/oxide/loi

LOI (Loss on Ignition) https://digitalfire.com/oxide/loi

LOI (Loss on Ignition) https://digitalfire.com/oxide/loi

As an example here is the entry on cracks http://ceramicsfieldguide.org/pdf/materials-handouts/ClayCracks.pdf

Back to the original question about how to get glazes to stick to bone china ... I glaze bone china all of the time.  Bisque fired first.  I airbrush my underglazes or glazes.  Once you get one layer on, you can fire it and then it's easy to brush on additional layers if you don't want to keep spraying.  Or use gum arabic to help apply brushing on the first layer.  Heating the bisque slightly can also help.  I see some of this was already mentioned above.  Also if silica is added to bone china (or frits, making it into lower firing fine bone china) then it's also easier to get glazes to adhere.  I'm fairly new to learning to mix my own slip so I'm still in a testing phase with that as most of my bisqueware has been imported from the UK in the past.
Good luck with it and I'll keep checking back to this thread, still learning as I go with casting my own bone china sculptures.  Here's a sample of some  equine pieces I've glazed - most (but not all) of these are fine bone china:  https://www.hynpatty.com/collections/163241

As an example here is the entry on cracks http://ceramicsfieldguide.org/pdf/materials-handouts/ClayCracks.pdf

Historical  aside Code stone. Sold as an artificial stone, it was really a ceramic with a very narrow firing range.

Coade stone https://en.wikipedia.org/wiki/Coade_stone
The Secret of Coade Stone https://tinyurl.com/y2ckdhyy
What is Coade stone? https://tinyurl.com/2s3b5j76

Scarva offer it at a higher price, but lower postage. No claim this is best UKish  price available. https://tinyurl.com/2t33eypa
Partially completed order for 1kg

With such a large amount of tricalcium phosphate needed to make bone china this is going to be an expensive way to get a white translucent body.  It's my understanding that originally bone china was made by using by bones from cattle slaughterhouses. The bones were available inexpensively (or free) so they were fired to create ash that was used in the claybody. It was a question of using what was available for little to no cost and on hand.
It would be easier, and in all probability far less expensive,  to make and fire a translucent white slip casting or plastic body at cone 6 (approx 1200C)  midrange body. You could fire to a typical bisque temperature of around cone 04 then glaze by dipping and fire to maturity. As the example of the yellow cup above with a good white kaolin like halloysite or grolleg you can get a very white body at midrange. 

I think the recipe is essentially the same, substituting calcium triphosphate for bone ash.
Bone china https://digitalfire.com/glossary/bone+china
True bone china is a special type of translucent porcelain. Instead of feldspar as a flux, bone ash is used (today available in synthetic form tri-calcium phosphate).
... my note tricalcium phosphate is Ca3(PO4)2
Unfortunately the terminological plot thickens:
Phosphate Triphosphate https://en.wikipedia.org/wiki/Tricalcium_phosphate
Most commercial samples of "tricalcium phosphate" are in fact hydroxyapatite

Bone Ash https://digitalfire.com/material/123
Bone ash is TriCalcium Phosphate in the form of Hydroxyapatite Ca5(OH)(PO4)3. This reacts when making bone china to give Anorthite (CaAl2Si2O8) and Ca3(PO4)2.
2*Ca5(OH)(PO4)3 --> 3*Ca3(PO4)2 + Ca(OH)2
So I've no idea if you you substitute 1:1 hydroxyapatite (sold as calcium triphosphate, or maybe synthetic bone ash) for "real bone ash". But it probably isn't far off.

Brushing glazes  with gums/binders are easier to apply to vitrified ware than dipping glazes, far more time consuming than spraying or dipping though.
Are you looking for the translucency of bone china?

... while waiting for the experts to arrive.
Sasha Wardell is an artist who works in bone china, her site is at  https://sashawardell.com/
Her 1st book Slipcasting contains some  bone china specific information.  I haven't seen her 2nd book Porcelain and Bone China but I expect it's well worth reading.
She gives an overview of porcelain vs bone china in Tempting Transparency https://tinyurl.com/mryx92z7

You need to high fire first because bone china has a short firing range and tends to warp. It's usual to use setters the support the work during this firing.
Obviously you cannot glaze the parts the setter touches, so glaze fire afterwards.
 
Glazing the vitrified body is difficult.  Heating the pots helps, as does spraying.
Tempting Transparency https://tinyurl.com/mryx92z7
Bone china has a low-glaze cycle following low-fire clay temperature ranges. The pieces need to be warmed up, usually to about 212°F (100°C) prior to glazing. This helps to evaporate water from the glaze slurry as it’s applied to the piece. When glazing, I pour glazes on the insides of the ware to line them and if I glaze the outsides, I spray them. Use a thicker application of glaze with a drop or two of gum Arabic added to the glaze to help with adhesion, as the body will have vitrified during the high firing.
Bone China https://digitalfire.com/glossary/bone+china
The process is completely different than what a potter would do: Bisque fire, glaze, high fire. Bone china is bisque fired to high fire and then glazed at a very low temperature. Since the porcelain has zero porosity, getting a glaze to stick and dry on it is not easy, the process needed goes well beyond what a normal potter would be willing to do.
PS If you are not using setters, then I don't see why you cannot do a normal-ish bisque firing. 

... while waiting for the experts to arrive.
Sasha Wardell is an artist who works in bone china, her site is at  https://sashawardell.com/
Her 1st book Slipcasting contains some  bone china specific information.  I haven't seen her 2nd book Porcelain and Bone China but I expect it's well worth reading.
She gives an overview of porcelain vs bone china in Tempting Transparency https://tinyurl.com/mryx92z7

You need to high fire first because bone china has a short firing range and tends to warp. It's usual to use setters the support the work during this firing.
Obviously you cannot glaze the parts the setter touches, so glaze fire afterwards.
 
Glazing the vitrified body is difficult.  Heating the pots helps, as does spraying.
Tempting Transparency https://tinyurl.com/mryx92z7
Bone china has a low-glaze cycle following low-fire clay temperature ranges. The pieces need to be warmed up, usually to about 212°F (100°C) prior to glazing. This helps to evaporate water from the glaze slurry as it’s applied to the piece. When glazing, I pour glazes on the insides of the ware to line them and if I glaze the outsides, I spray them. Use a thicker application of glaze with a drop or two of gum Arabic added to the glaze to help with adhesion, as the body will have vitrified during the high firing.
Bone China https://digitalfire.com/glossary/bone+china
The process is completely different than what a potter would do: Bisque fire, glaze, high fire. Bone china is bisque fired to high fire and then glazed at a very low temperature. Since the porcelain has zero porosity, getting a glaze to stick and dry on it is not easy, the process needed goes well beyond what a normal potter would be willing to do.
PS If you are not using setters, then I don't see why you cannot do a normal-ish bisque firing. 

@Pres Gimp is a professional level program.  But its a bit much for the non-computer person. The most recent versions have gotten a bit complex even for people who have used it for years.
I absolutely encourage its use for anybody with enough tech savvy to do so.  Just not a solution here.  It'd be like nuking a fly, LOL!

Might be worth snipping the resistor out and trying to clean it with an abrasive cleaner.
PS It's a long time since I read a resistor, quick recap.
Resistor Color Code Chart https://tinyurl.com/5n6ud78n

A handy tool for reading resistor color code values https://tinyurl.com/5n6ud78n

 

The phrase that’s standing out in your original question is “I don’t know what I don’t know.” That would be the thing to fix first.
If I hand only $100 to spend on something to make my photography better in the early days, I’d head to Skillshare and take a course on photography lighting for product photos. The tent is like a specific kitchen tool: great for one job, and if you do a lot of that job, they’re worth owning. But if you’re doing more stuff for social media, they have limited use.
I actually find the tents cumbersome BUT. My advice is given with the caveat that  I don’t apply to juries or publications until after I’ve forgotten about how much the last round annoyed me, or about every 2 years-ish. I do a lot more website/social media photography, and the best practices are different. If you’re doing more plain background images photos, the tents are great. My suggestion would be to see if you can borrow from a friend or rent one from your local camera store first, to see if you like using them. If you do enjoy, do what Mark said. 
But if you don’t like using one, the lighting tents are primarily diffusers, and there’s lots of budget friendly and effective ways to do that. 
IF you need a quick and dirty diffuser box for temporary or occasional use, Here is an older, but still very good tutorial on how to build and use one.
If you want, I can give a description of an easy natural light setup, but this post was turning into a novel. 
Photography gadgets that I do get WAAAAAAAY more use out of: a gorilla pod for my phone, figuring out that I can use my headphones as a cable release (IPhone) Snapseed (photo editor), and a course on how to think about lighting an image. Tools for reflecting and controlling light that I use are largely dollar store purchases: the poster board, foamcore and tissue paper. Some may recommend a shinier reflector, and you can use tinfoil over a piece of foamcore. If you are using a fancier camera, you just want the fancier camera versions of the tripod, cable release and editing software (Lightroom).
Whatever you use for your rig, you will have to figure out how to edit your images in post. Even if you hit all the boxes and get an image “out of the can” that’s almostperfect, chances are you’ll still have to do some white balancing, or colour correction. If you’re working with your phone, I can’t recommend Snapseed enough. If you have a nicer camera than I do and work on your desktop, it’s worth it to take a course, or at least a few tutorials on how to use Lightroom. 

Been a while since I was able to squeeze one of these into a firing.
Here's the latest test.  Exposing the cyanotype twice is helping keep the image from fading so much.
Next step is spraying a clear glaze over it to see if that will keep the image from evaporating during Cone 10 firing.  Leda is just so so  and the swan is fading, so I also think a less contrasty negative and a third exposure to build up the iron.  We'll see.

lee, i tried a hand held extruder and found that i could not make the entire extrusion  long enough for a handle.  each pull creates a stop where you need to start squeezing again.   who is it here who made one from an electric caulking gun.   is it pres?   that might be a way for you as well.

Different methods of making handles for mugs https://tinyurl.com/yckrtf6r
Video: https://tinyurl.com/mrnwfa5b

I don't think anybody has directly addressed this question.
Understanding the Deflocculation Process in Slip Casting https://tinyurl.com/2p96x33r
A simple mix of clay and water will not work well at all for casting. Not only will it quickly waterlog the molds but it will shrink too much (and therefore crack in the molds) and it will take much to long to cast. It will also gel and settle out and generally make the process miserable. Optimal casting requires that the slurry have minimal water content (e.g. 30% instead of 60%), good flow and draining properties and that it not settle out or gel too quickly. When the slurry is right the casting process works amazingly well.
... I suspect that these issues are amplified if you are trying to solid-cast.

Different methods of making handles for mugs https://tinyurl.com/yckrtf6r
Video: https://tinyurl.com/mrnwfa5b