Chilly

I don't throw, therefore make few vessel type pots, but when I do, I think about this:
However......  I have two favourite mugs.  One of them I can fill with hot drink, and carry it upstairs in total darkness and put it down without spilling a dropl  The other sloshes around and I have to put a light on and carry it with total concentration.  Mug 1 is shaped like #6 with a narrower neck than body, mug 2 is like #2 but more pronounced - it is a "gardener's mug and shaped like a plant pot.
Shape affects function as well as being pleasant to the eye.

I don't throw, therefore make few vessel type pots, but when I do, I think about this:
However......  I have two favourite mugs.  One of them I can fill with hot drink, and carry it upstairs in total darkness and put it down without spilling a dropl  The other sloshes around and I have to put a light on and carry it with total concentration.  Mug 1 is shaped like #6 with a narrower neck than body, mug 2 is like #2 but more pronounced - it is a "gardener's mug and shaped like a plant pot.
Shape affects function as well as being pleasant to the eye.

When I'm teaching newbies, I always say, nothing thicker than my thumb.  I think thickness and uneveness is causing the cracks during drying.
If you imagine a sphere, say 150mm across, with a thickness of 10mm.  The clay on the outside will shrink and crust over as the moisture evaporates.  The crust makes it harder for the moisture deeper in to evaporate, and as no evaporation, it can't shrink.  So the outside is shrinking and the inside isn't.  Tension pulls something apart and you get cracks.

How are you constructing the ribbons?  Rolled out flat, then bent and twisted?  If yes, then at stoneware temp the clay memory is kicking in and it wants to go back to how it was born - flat.
Might need to think a different way to create it.  Or build in a support.  Or fire to a lower temp/cone.  Try ^4 instead of ^6.

The plaster itself should dry the surface of the clay enough that it will release. If it's not releasing quickly enough, then dust some corn starch on the mold or the clay before pressing it. I would not use any sort of liquid on the plaster, as it will just soak in and ruin the porosity of the plaster.

Bisque makes great slump and hump moulds for handbuilding on, but I think plaster is a better tool for slipcasting. 

1. Consistent wall thickness, carve when leather hard, keep moist or covered until carving is done
2. Very narrow cutting blade , best ones are less than 1/8”, needle tool to fish out trimming scraps
3. Plan holes so that there is enough structure to hold itself up when high heat softens the clay at the peak of firing, geometric designs are most reliable 
4. Dry slowly, covered loosely 
5. Gently smooth rough edges with a green scrubber when clay is no longer damp
6. Some experimenting will be necessary to determine glaze thickness and application 
7. Clean excess glaze from holes with a needle tool
Here’s a video from a Korean master: 
 
 

Long time since I used mine, but I think it's not a tool for applying a solid, even coat of glaze. 
More for adding speckles/texture  -  one glaze over another.

Long time since I used mine, but I think it's not a tool for applying a solid, even coat of glaze. 
More for adding speckles/texture  -  one glaze over another.

Off topic, but as you seem to be exploring the boundaries at the moment so you may be interested.
Historically millions of bowls have been made in bisque moulds. Not by casting, but by a skilled-labour intensive slow-wheel process akin to manual "jiggering".
 
Also see https://www.youtube.com/watch?v=2Nef_LuFDkc
Note there is no attempt to mould-form the foot or the upper smooth-section-with-rim. But you get a lot of texture with little per-pot effort, and the use of stamps minimises per-mould effort.
 

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.

Changing the mesh size of the silicon carbide apparently influences the appearance.

PS I suspect that refiring can only smooth/collapse/consolidate previously fired lava glazes, as all their fizz was expended in their first firing.
As the top half of the cylinders indicate thicker application of the glaze increases the foaming -- especially for finer grades of SiC.

If the kiln was fired to cone 4 then for a typical bisque firing this was way too hot. Common bisque cone is 06 - 04.
Common cone numbers go from 022 up through 14. The zero in front of cones 022 up to 01 is very important. There is a big difference between a typical cone 04 bisque and a cone 4. Cone 04 will leave the pots porous enough for glaze to easily stick to it, cone 4 is nearly at the maturity level, this is why the glazed pot fused to the bisque piece that was on top of it. 
It's difficult but not impossible to glaze overfired bisque. Try warming the piece up in the oven then dipping it in the glaze. Brushing glazes go on easier but each coat will take longer to dry. It might be easier to remake the pots rather than try and glaze them.
edit: I wouldn't fire a bisque piece on top of a glazed piece even at cone 04. Some glazes start to flux (melt) enough at cone 04 that they could still stick to a bisque piece.

Well I spent 5 weeks this summer getting ready ,pouring a 2.5 yards concrete pad ,moving  kilns around and bringing a new used 18 cubic foot Geil into the mix -got it all vented and organized did the 1st bisgue in the Geil a few days ago and today I have all three kilns glaze firing a 12 cubic and 18 cubic and a 35 cubic car kiln. I'm a bit worried the gas system may be streched to thin volume wise (all two inch supply) and we shall see later today.I have not had a new gas kiln here for about 4 decades. I have a few unresolved issues with the Geil like new 14x 28 advancers that I yet do not have. I'm firing 3 typrs of sheles in that geil thaty came with it.
The hollow core type -4 brand new and they will warp soon at cone 11,4 old style silicone carbide which will warp soon as well . (I fired this style alot in the 70s -80s but not since then have I used them and the cheap Chinese recystilized sic shelves which will warp soon as well.I need to order about 14 of the advancers  which will cost as much as the kiln did (6K). I keep reminding myself I'm slowing down.
all this will equal 664 cubic feet of glaze wares-I hope the Geil helps with my rutile pitting issue I have been fighting with all year. 
On the pitting issue many I know are struggling with the same rutile issues as well currently . I have used rutile for 50 years an seen alot of woes with it but nothing like now.
all three kilns have oxy probes and I can tell easy about reduction atmospheres in each.
I have my only art fair this year coming up this weekend (its my 49th annula show  there) and am almost done packing up a huge wholesale order (20 banana boxes which will fill our Forester Subaru).
I'm working hard to get out of the country for 4 weeks of diving in Indonesia soon-I know tough life

I’ve also found that having a shipping included price on the website eliminates confusion. I never use the words free shipping, because shipping isn’t free, and especially in Canada you can’t afford to just eat any part of it. 
Back when I had my etsy shop, they were beginning the push for all vendors to have “free” shipping. I was annoyed with the whole thing, and thought that people were smart enough to recognize that shipping charges would be extra, and that it wouldn’t affect buying behaviour. I was so annoyed, I decided to run a test in my own shop just to prove it. I made listings for my mugs, some with shipping included and some without. I wound up eating crow, because people absolutely bought the $60 mugs over the $40 + $20 mugs.  

It depends.....  Some people are heavier appliers than others.  Commercial glaze usually says apply 3 coats.  I have seen people apply three coats that look like my 1 coat, and others whose 3 coats would puddle all over the kiln shelf.
At our community centre, I get newbies to do a "number of coats" test tile, before they do any glazing or underglazing.  A square tile 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.

It depends.....  Some people are heavier appliers than others.  Commercial glaze usually says apply 3 coats.  I have seen people apply three coats that look like my 1 coat, and others whose 3 coats would puddle all over the kiln shelf.
At our community centre, I get newbies to do a "number of coats" test tile, before they do any glazing or underglazing.  A square tile 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.

It depends.....  Some people are heavier appliers than others.  Commercial glaze usually says apply 3 coats.  I have seen people apply three coats that look like my 1 coat, and others whose 3 coats would puddle all over the kiln shelf.
At our community centre, I get newbies to do a "number of coats" test tile, before they do any glazing or underglazing.  A square tile 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.

It depends.....  Some people are heavier appliers than others.  Commercial glaze usually says apply 3 coats.  I have seen people apply three coats that look like my 1 coat, and others whose 3 coats would puddle all over the kiln shelf.
At our community centre, I get newbies to do a "number of coats" test tile, before they do any glazing or underglazing.  A square tile 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.

£117.  A floor mounted extruder for the community centre.  (They won't let us attach to a wall.)

Weight.  Same for dyes (fibres like wool)
 

£117.  A floor mounted extruder for the community centre.  (They won't let us attach to a wall.)

@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.