Chilly

Something I do is put a hole in the top of the spoon, since people sometimes like to hang them.  Then I fire them on a bead rack-either commercial or something I rig up if I need a taller space.

Hi and welcome to the forum!
Ceramic stilts work well for things like this. They leave a little glaze prickle on the underside but those can be carefully ground down. Some clays will slump enough for these not to work, will have to try and see with a waster piece of clay underneath in case it sags onto the kiln shelf.

I've re-fired some almost identical pots and had one succeed and one fail. 
My thought is, "if it's no use as it is, what is there to lose by re-firing". 
But always use waster cookies and think about what else is on the same shelf.

I get newbies to do a "number of coats" test tile, before they do any glazing or underglazing.  A square of clay, marked into 4 smaller squares.  Corner 1 gets one coat of underglaze, corner 2 gets 2 coats, corner 3............etc
This gets bisque fired and then they apply 1 coat of clear on half of corner 1, 2 coats on half of corner 2..........
Second fire to earthenware, (we don't do any high-fire) then they (I) can determine if they are a light applier or a heavy applier.  This gives them a guide for future applications.    
We often repeat with a vertical tile with texture.

BUY A RUBBER SPATULA AND ALWAYS CLEAN EVERY BUCKET!   the 60 mesh sieve has worked for me since 1972.   wore out one or two.

talking books from the library.  Anything from young adult adventure/sci-fi/fantasy to Dick/Felix Francis, James Patterson, JK Rowling, Lee Child

talking books from the library.  Anything from young adult adventure/sci-fi/fantasy to Dick/Felix Francis, James Patterson, JK Rowling, Lee Child

you might try making something you commonly make using what you think is the right amount of clay.   cut a piece of a fresh pug and touch a sharpie to the place the pug lands when you run the machine.  my bailey has a stainless "table" that slides as the weight of the pug pushes it away. i have lines on it.  i find that about 4 inches is just right for a soup bowl, the thing i throw often.  the diameter of mine is different from yours so maybe only 3 inches is what you want.
weigh that piece.  make the item and judge whether it is too little or too much.   the point is to avoid weighing every time by  learning  what length contains the amount you are aiming for and mark the lines so you can cut the same size piece each time.  if you are confused, just think that lines equal weight and equal lengths give  equal weights.
to save my hands, i use a "whammer dammer", a piece of wood that acts like a square baseball bat.  put the clay on the wheel and wham it down onto the wheelhead or batt.   use slow speed and wham it all the way around shaping it as you go.  i use Mea's hockey puck shape, never a mound with a slope.  why make a shape you have to change to throw anything?

Another way to do it would be to weight out the amount of the pug you need then cut it in half so instead of an approx 8 - 10" pug you have two 4 - 5" lengths. Smack or thump those into roughly a roundish shape with flat bottoms. Center the first one on the wheel then flatten off the top then slap the second one on top of the first (without trapping air between). 
VanGilder has a video showing a useful tool for cutting clay into equal weights. It's at 3.37 of the video below. I totally agree with him on throwing the pugs on the side not in a soup can orientation. Some claybodies might be okay with the soup can orientation but with others the auger spirals will cause cracking issues.
 

This also assumes that the dry clay is the same cost per pound as the moist clay. When I worked for A.R.T., we charged more for dry mix because mixing and bagging dry clay was a much slower process for us than making moist clay.

Well lets see the show was under perfect weather condions no wind in the upper 70s and 80s for 3 calm days. Best show of my life and thats saying something.
Customers heard it was my last show there after 30 straight years
They came from Canada and Seattle area,Bellingham to Germany. My largest sale was from a Jeweler from Atlanta area who flew in for show and was along time customer-she heard it was my last show and bought a few boxes of pots.. Had over 750 customers over the 3 days
My new fish plates in 3 sizes where a big hit and sold out in 2nd am.I raised the price 3 times on them.
It was tedious telling custmers over and over why I was not coming back
One thing people at shows think is you will always be there for them whenever they come. Well that was true for 30 years . They where slow to under stand that my wares sell out where I live and i have no reason to take them out of county ever again.
They get it now. It was sad and a joy at the same time doing this last of my favorite show -the show is 250 artists which 25% where brand new. Less than 10 potters left now as in most shows I see nowadays. Only less than 5 artists who like me have 30 plus years in there.
I meta youg potter couple in mid 40s and invited them down to our local art show and will if they ever come pass on some of my display racks for cheap as I have way to many sets of displays at this point-no more double booths for me. The diving was so so as the tides where not good and I picked up a cough/cold (not covid) on trip. I was masked whole time in the heat -no fun but I'm careful .
I'll miss the show and the customers as I saved them to the end.
well back to packing stuff up for 5 order drop day at local outlets
 

try to think this sentence as :  "then glaze with the transparent glaze"
The brush action is different to painting.  Glazing needs a loaded brush and allow the glaze to flow off the end of the brush in one sweep, then turn the brush over, and apply the next sweep to the next part of the pot.  Never scrub the glaze onto your pots like you might do with paint.  Painting and glazing are different actions, and need the different words stuck in your mind so you remember that.
So, to recap all the above comments:
bisque firing is to change clay (that can be re-wetted and turned back into workable stuff) into clay that is hard, but still porous.  Usually to cone 06-04
glaze-firing should turn the bisqued pot into a stronger, (vitirified ?) non-porous pot that will hold water.  Earthenware temperatures need fully glazing, stoneware temps can/should have bare bottoms and don't need to be fully glazed to be non-porous.  Can be cone 04 through to 6, 8, 12 or higher.
 
Any more questions - keep asking.
 

Here are a few glazes that we use in my studio that are very stable and consistent.
Butter is great on top of other glazes, and also looks good alone on brown speckled clay.
Harris Red is a great iron red glaze, tends to be the most red on brown bodies.
Runny White is quite stable on its own, but flows a bit on other glazes. Looks great by itself on speckled brown bodies or on top of just about anything.
S-4 Blue looks a lot like denim, has nice surface variation, and looks good on both white and brown clays, especially on speckled brown.
Spearmint is a nice green with good surface variation.
Nutmeg is a fake shino, which I normally hate, but this one's not bad. Goes lighter as it gets thicker.
*edit- These tiles all show double dips. They are not runny with a single dip.

Nutmeg.pdf Spearmint.pdf S-4 Blue.pdf Runny White.pdf Harris Red.pdf Butter.pdf

This thread may be relevant:
Have you fired any test tiles?  If the above is relevant I would have expected them to come out something like the outside of your mug.

That glazing method would do it, aside from the difference often noticed between inside and outside of pots because of othrr reasons.
Try dipping mug into glaze and holding the desired time and comparing that to your first result.
Not enough glaze? Do the inside, wait o'night then do exterior..

bauhaus,  what color is your clay?   if it is white, why not try a slip made from your clay body and a colorant?  some are oxides or carbonates.  there are other blended colorants available.   i think in the uk they might be called pigments, in US they are called stains.  the reason i suggest silp instead of underglaze is the very high cost of underglazes at both potclays and scarva.   i am math illiterate but if your supplier sells you a tiny amount of colored underglaze for almost twenty pounds, you might ask about buying colorants separately.   that way, you can color slips, glazes and washes without having to buy a container of each product.   
there are excellent books available with plenty of photos and recipes for you to try.  it has been several years but i remember the book with Bible in it's title has an error in it with a reversal of the titles for cone numbers.   a major error in my estimation.
you will have to be the teacher in learning how to design, fire and glaze your work..   you might look for what we call a Paint Your Own Pottery shop where for a small investment in a white earthenware  figurine, (pick something you can put lots of different colors on)  and try out the store's supply of underglazes.   they will fire it for you and glaze it with a clear glaze to show the colors which will then be glossy and not flat as you have painted them.
this experience will show you a lot about using colors even if it is only earthenware that is fired much cooler than your stoneware.   ask questions while you work and the first of these will be "are you the person in charge of the kilns?"   if yes, ask if it would be convenient to discuss firing right now or maybe make an appointment for a time to do so.   start a notebook right there.

Hi @Bauhauswelcome to the forum.
Where in England are you, I might be able to point you to more help?
Cones and temperature can only be compared if you know which style of cone, and which firing rate is used.
http://c0dc6bc9-fdd4-4b7b-883d-06ca9f81bb37.usrfiles.com/ugd/0c3047_558b1411295f4e049829c9233fe27f91.pdf
You will see that 1100c appears in several columns.
Usual practice is to bisque at cone 06-04 and then glaze fire at anything from the same for earthenware, to cone 6 for high(UK)/mid(US) to Cone 8 or higher.  Stating temperature tends to confuse the issue.

Oh puck!!!!
Sorry all:-))
Long winters will do that to you.

Most Canadian thing I’ve ever seen in a glaze room: hockey sticks (sans blade) used as stirrers for the big buckets in a city run arts centre.

I’ve found a few things over the years on handle attaching:
1. Slip vs water vs magic water: there is not a universal method. What works on one clay might not work with another. I’ve used white stonewares at cone 10 that needed slip and score, and red stoneware at cone 6 that wouldn’t grip for love nor money if I was using slip, but needed scoring and water instead. If one trick doesn’t work for you, try another.
2. If your handle and your mug body are at different stages of dryness, that’s the thing most likely to cause handles popping off in drying.
3. Wiggle that sucker on there! Whatever you use from step one, if you don’t wiggle the handle into the attachment point until it stops moving, it’s not attached well enough. If done properly, a handle will break off just outside the join rather than the join itself giving way.

Hi Gracie and welcome to the forum.
What I think is happening is your clay is porous to a degree that water is seeping through the clay through the crazed glaze (those fine cracked lines) and leaving soluble salts deposited in the craze lines on the surface of the pot. You could try thoroughly drying the vase out and adding a sealant to the inside of the vase. Another alternative would be to use a jam jar or some some thing to hold the water inside the vase and leave it as it is. Is this a pot you made or one that was bought or gifted to you?

I'm doing a little demo to show one reason why some recipes go to 2 or 3 decimal points. I'll use the first recipe Beebop posted as an example that pertains to the question in the thread of using a ball clay in place of kaolin in a recipe. 
I took the original recipe (example 1) then did a one to one swap of OM4 for the kaolin (example 2). See how the total is still 100 but them chemistry isn't the same. With OM4 ball clay the silica is now too high and the alumina is too low. (blue and red boxes) plus a tiny difference in the calcium. 
So to get the silica, alumina and calcium to be the same as in the original recipe I need to increase and decrease certain materials then retotal the recipe to equal 100. This is recipe example 3. Numbers are now down to the third decimal point to get the total to 100. Some programs will automatically round the numbers off, some don't but it's simple enough to do.
I then took the 100 gram batch and increased it to a 10,000 gram batch. Example 4. Decimal points are now down to tenths. If I was mixing this glaze I would just round them up or down and get rid of them altogether. 

 

Its fine to avoid a company from personal experience-I was just saying that Laguna is going to be hard to avoid as they supply  so many other clay outlets
The cimtalc is not a Laguna product its just another talc from another supplier that Laguna happens to buy from.
I to have had issues myself with Laguna  but have resolved most of them.
As noted  above Darvan will work fine as I used it in a slip business I once owned.
Many products from overseas are not available here but most can be substituted and a few are available 

Dispex is what they use in the UK instead of Darvan. 

I read that you are in a very frustrating position in life.
So instead of slamming Simon Leach, let's focus on the positive. 
What videos do you recommend?
Take care.