LeeU

I would use a stiff glaze rather than a fluid one that thins out on edges. Like Bill said though, glazes are brittle so shearing breaks could very well be a factor.
I know it isn't what you asked about but I have been using Gorilla Max Strength Construction Adhesive in Clear for attaching  kenzan in Ikebana. It's 100% waterproof and really really strong! This stuff does not move when set, really good stuff. Perhaps that is another option to the epoxy? I used to use epoxy but find it can shear.
 

Zinnser Bulls Eye 123 white primer did indeed work and seems to adhere well to gloss glaze. More of a satin rather than matte finish, but okay. Can always add a flat paint on top, or spray a clear matte.  Since it's sculpture, rather that utilitarian, i don't expect much wear and tear.

I got turned on to this site by ceramicist John Baymore, a former member known to many.  He invited me to particpate in some firings of the large anagama kiln built by him & his students (New Hampshire Institute of Art). I knew about ICAN/CAD but hadn't checked out the Forum site. I had my BFA in ceramics but had taken a 30 year career detour and was trying to get back into it in my retirement years. He suggested the Forum as a reliable resource and supportive community, which of course it has proven to be. And I will add, even tho I am less active, I still feel "part of" and this group process helps sustain me even as I cut back/slow down on activity. 

I got turned on to this site by ceramicist John Baymore, a former member known to many.  He invited me to particpate in some firings of the large anagama kiln built by him & his students (New Hampshire Institute of Art). I knew about ICAN/CAD but hadn't checked out the Forum site. I had my BFA in ceramics but had taken a 30 year career detour and was trying to get back into it in my retirement years. He suggested the Forum as a reliable resource and supportive community, which of course it has proven to be. And I will add, even tho I am less active, I still feel "part of" and this group process helps sustain me even as I cut back/slow down on activity. 

I haven't taken a vacation since before the pandemic and I'm not up for flying anywhere. What I do is travel by myself or w/a friend, on day trips where there's not tons of people. I may go to the ocean along NH or ME, for a couple of days, off season.
This summer, my primary plan is to use the time to accomplish two things.  One, I will sell an entire room-full of good quality "yard sale" type items. That is actually a lot of work, as it all goes online-not allowed to hold sales where I live.  Two, I will streamline my studio .  There's a good bit of materials, tools, supplies, equipment, the wheel, etc. that I will sell (will just do handbuilding).  I am  freeing up space so I can get back to painting/other media--so that counts as non-ceramics LOL. 

I haven't taken a vacation since before the pandemic and I'm not up for flying anywhere. What I do is travel by myself or w/a friend, on day trips where there's not tons of people. I may go to the ocean along NH or ME, for a couple of days, off season.
This summer, my primary plan is to use the time to accomplish two things.  One, I will sell an entire room-full of good quality "yard sale" type items. That is actually a lot of work, as it all goes online-not allowed to hold sales where I live.  Two, I will streamline my studio .  There's a good bit of materials, tools, supplies, equipment, the wheel, etc. that I will sell (will just do handbuilding).  I am  freeing up space so I can get back to painting/other media--so that counts as non-ceramics LOL. 

Envy envy!  (I credit Voulkos for validating my own notion that there's a place for holes/rips etc. in my clay forms ) And Hamada!!! what a wonderful story/experience you had!

Post pictures and see if anyone can help. If you can, show the bottoms and any marks that might identify a maker. People often sign or stamp their work. Worth a shot.
Fun story, I was having dinner at a colleague’s house. He’s the science teacher, I’m the art teacher. In Anchorage, Alaska. He says, “You’re into ceramics, you might recognize these bowls,” as he loads one up with salad. “They’re made by someone named Shoji Hamada.”
So, he grew up in both England and Japan and his parents were great friends with Bernard Leach and Hamada. He just kept pulling out Hamada pots that his mom had given him while I was picking my jaw up off the floor. The kicker was when he pointed to a pot on his fireplace mantle and said, “That one’s a Peter Voulkos.” Sure as hell, a signed Voulkos, an early one, when still made pots that looked like pots.
”We use the pots because mom said that’s what he would have wanted. She loved pottery”
You just never know. 

Thanks for responses. After some research, it looks like I should be able to get away with Zinsser Bulls Eye 123 white primer. Will check back in if it works!

I vote for paper as well. Because it's a simple shape, you should be able to get the edge sealed well and have minimal bleeding.
The other option is to apply the underglaze first, then apply the stencil and wipe away the underglaze with a sponge. This method works well if you have large areas of underglaze or complex patterns where it's impossible to seal all the edges, and brushing evenly is difficult. It requires a smooth clay body, though. I used the wipe method for this piece, using a stencil designed and cut with my Cricut:

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar.  I used brighter colors & glitter dust to support a positive vibe for what she "seas".  Here is a link to the text about each mask (on my Blog) if of interest.  https://www.leeuceramics.com/single-post/hidden-mask-series-hms

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar.  I used brighter colors & glitter dust to support a positive vibe for what she "seas".  Here is a link to the text about each mask (on my Blog) if of interest.  https://www.leeuceramics.com/single-post/hidden-mask-series-hms

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar.  I used brighter colors & glitter dust to support a positive vibe for what she "seas".  Here is a link to the text about each mask (on my Blog) if of interest.  https://www.leeuceramics.com/single-post/hidden-mask-series-hms

Decent article, liked the links especially.  I scrolled the comments-they were all over the place. I liked one from somebody talking about the attraction maybe being more about touching physical material,  rather than hanging w/people, noting that even paper was removed from him via working on the computer. 

"Oh yes, pass for most of us, sending around with strangers making clay pots, no thank you"
"What's fascinating is the types of items fellow students make. ... Time, imagination and a willingness to fail - none of us cares if we make something ugly or lame - have freed us to create. It's an exhilarating experience."

Decent article, liked the links especially.  I scrolled the comments-they were all over the place. I liked one from somebody talking about the attraction maybe being more about touching physical material,  rather than hanging w/people, noting that even paper was removed from him via working on the computer. 

Times allows limited (ten?) article reads per month for non-subcribers...
Pottery Workshops Fill Up as People Travel to Connect Over Clay - The New York Times (nytimes.com)
Interesting read, e.g. “Clay is the opposite of the cellphone,”
Be sure to check the comments as well.
As much as I truly enjoyed being in a community Studio*, the dust and artificial scents (hair products, washing solution, dryer sheets, cologne, perfume, oooh the et cetera) pose a looming ...barrier.
 
*On arrival (always waay early), a slow tour of all the cubbies, the drying cupboard, glaze racks, everything! As the semester moves ahead, so does everyone's work.
As the other students arrive, visiting and banter.
Each hour, a new selection of music (when the instructor isn't lecturing).
Watching how each person works a bit differently!
 
Added: another Times article
Can Old-World Horezu Pottery Survive Modern Tastes? - The New York Times (nytimes.com)

The 2 on the left are mine, all I have remaining from my  mug-making days; I don't throw anymore & don't really have the interest in doing them handbuilt or w/a banding wheel--well, maybe for my own use...never say never. The blue/gray one I got not too long ago at the last NH Studio Tour, made by Steven Zoldac (claim to fame, he does exquisite slip trailing, which this does not begin to show off, and he's Maureen Mills' hubby.) The red clay was also one of his that I had just loved, but alas I broke it and there are no more. These have terrific handles and drink like a dream (so do mine, actually.)

The 2 on the left are mine, all I have remaining from my  mug-making days; I don't throw anymore & don't really have the interest in doing them handbuilt or w/a banding wheel--well, maybe for my own use...never say never. The blue/gray one I got not too long ago at the last NH Studio Tour, made by Steven Zoldac (claim to fame, he does exquisite slip trailing, which this does not begin to show off, and he's Maureen Mills' hubby.) The red clay was also one of his that I had just loved, but alas I broke it and there are no more. These have terrific handles and drink like a dream (so do mine, actually.)

The 2 on the left are mine, all I have remaining from my  mug-making days; I don't throw anymore & don't really have the interest in doing them handbuilt or w/a banding wheel--well, maybe for my own use...never say never. The blue/gray one I got not too long ago at the last NH Studio Tour, made by Steven Zoldac (claim to fame, he does exquisite slip trailing, which this does not begin to show off, and he's Maureen Mills' hubby.) The red clay was also one of his that I had just loved, but alas I broke it and there are no more. These have terrific handles and drink like a dream (so do mine, actually.)

I’ve been humming and hawing over this question, was going to pass on making a comment out of respect to those amongst us who live a single life and might be having a difficult time reading these tales of love and understanding. 
I am one of the fortunate people who has a sympathetic and understanding life partner. The respect and considerate nature we have for each other and what we do with our chosen paths isn’t something that is limited to how we spend our days make a living. We started off with student debts and stretching out the pay checks to make ends meet then as time went by found ourselves with a mortgage and 4 daughters.  Just to make things more complicated I left my well paying job to make a go of selling pots.
Being supportive isn’t just restricted to a tolerance or a shallow understanding of the trials and tribulations of working at making a living with clay and all that it involves. Does it still require an understanding and at times boatloads of patience? Hell yes! Could I do this without an understanding partner? Yup, I’m sure I could but it would be more difficult. I have deep and profound respect for people who make a go of working a lifetime in clay, especially those who do it singlehandedly.

Hi folks, running a little behind here with the QotW. However, I have been thinking a lot lately of my wife, and her participation and support over the years when dealing with clay. She puts up with a lot, from the tracking in of clay dust from the garage to the time spent alone because I am busy playing with the clay. She has even put in time during the show years helping me pack, price, set up, and take down. She has sat booths with me, and without me when I was busy getting more pots out of the kiln for the days show. She did most of the base glazing in the early years, sometimes with help form a girlfriend. Then I would put on the decoration and finishing touches. When my kiln burned out a few years ago, she was the one that told me to buy a new one and don't take too long. . . saying she would find the money. She knows that I have an itch called ceramics and that it makes me a better person when I can do it. Makes me wonder. . . . how does it work for others out there?
QotW: How does your wife, husband (or significant other) and other family deal with your need to create ceramics?
best,
Pres

I have no family anywhere near me & no "significant other". My daughter is on the opposite coast and is actively helpful with kicking ideas around and provides useful feedback re marketing/photography/types of items. She suggested I do the plant stakes--I hated making them but they sold like hot cakes when I needed some quick income.  My sister has worked in clay herself (totally different style/technique) and understands the craft,  which is much appreciated. I have one friend who has really gotten me through the highs & lows, from 2014 when I decided to make myself a studio, to the present when I am struggling with some limitations and trying to decide what  to do.  He has helped with logistics and sales, managed my inventory, done my spread sheets, taken reference pics, proof-read text, provided assistance with my web page, and given lots of "common man" perspective on items that I put out for public consumption. I have another friend who has sat with me at the few craft fairs/shows I've done, including all that packing/hauling/unpacking/rehauling.  He also did a lot of the chatting with people coming to see what's what and managed to sell more of my stuff than I did! As a group, they have become essential to supporting my "need to create", through thick & thin. 

I have no family anywhere near me & no "significant other". My daughter is on the opposite coast and is actively helpful with kicking ideas around and provides useful feedback re marketing/photography/types of items. She suggested I do the plant stakes--I hated making them but they sold like hot cakes when I needed some quick income.  My sister has worked in clay herself (totally different style/technique) and understands the craft,  which is much appreciated. I have one friend who has really gotten me through the highs & lows, from 2014 when I decided to make myself a studio, to the present when I am struggling with some limitations and trying to decide what  to do.  He has helped with logistics and sales, managed my inventory, done my spread sheets, taken reference pics, proof-read text, provided assistance with my web page, and given lots of "common man" perspective on items that I put out for public consumption. I have another friend who has sat with me at the few craft fairs/shows I've done, including all that packing/hauling/unpacking/rehauling.  He also did a lot of the chatting with people coming to see what's what and managed to sell more of my stuff than I did! As a group, they have become essential to supporting my "need to create", through thick & thin. 

I have no family anywhere near me & no "significant other". My daughter is on the opposite coast and is actively helpful with kicking ideas around and provides useful feedback re marketing/photography/types of items. She suggested I do the plant stakes--I hated making them but they sold like hot cakes when I needed some quick income.  My sister has worked in clay herself (totally different style/technique) and understands the craft,  which is much appreciated. I have one friend who has really gotten me through the highs & lows, from 2014 when I decided to make myself a studio, to the present when I am struggling with some limitations and trying to decide what  to do.  He has helped with logistics and sales, managed my inventory, done my spread sheets, taken reference pics, proof-read text, provided assistance with my web page, and given lots of "common man" perspective on items that I put out for public consumption. I have another friend who has sat with me at the few craft fairs/shows I've done, including all that packing/hauling/unpacking/rehauling.  He also did a lot of the chatting with people coming to see what's what and managed to sell more of my stuff than I did! As a group, they have become essential to supporting my "need to create", through thick & thin.