Pyewackette

ALL my tools are essential!  ALL of them I say!
I have the angle grinder, the dremel tool, the Opti-visor.  I have a bullseye level - which runs $3 or $4 at a hardware store but I saw on either Amazon or some pottery supply place for $15 !!!!
I have a dent puller for dipping stuff in glaze, but a lot of my stuff is too small for it to be useful.  And you have to wax the bottom for it to work.
I use a mister from Sally Beauty - works way better than any other sort I've seen.  I picked up a similar mister in the studio and started pumping away and was immediately admonished that if I used it that way I would break it.  Well I've had these for years, I pump away with them for whatever task they are currently set to, and I've never broken one.  They're also cheaper than the ones I've seen on Amazon and elsewhere.

That's the one I currently have (several actually, I use them to mist plants, pots, and sometimes even my hair) in purple, black and white.  They now have a larger one - 24 oz instead of 10 oz - which I am going to try and see if its as durable/useful.

I made a long reach sponge from a chopstick and a small section of sponge cut from a big tile sponge (Armaly Pro Plus Mortar and Grouting sponge). I also cut my regular sponges from the big one.
I used an upholstery awl to poke a hole in the folded over edge of a strip of chamois, then I made a chamois float by screwing the chamois to a cork through the poked hole and a washer to make sure the chamois didn't tear out around the screw.
I have a cheapie Dollar Tree desk organizer I use to hold my trim tools and ribs - I cut out the front of it so my ribs are more reachable, otherwise they fall down into the bottom and I can't see to grab the one I want.  Mine is turquoise, my store didn't have those colors and it was in the office supply section, not the craft section.

I have this toolbox from Harbor Freight that holds my most often used tools.  Keep in mind I have to schlep from home to either of two studios.  This is lightweight and fits perfectly in one end of a Sterilite crate, which I use to corral my tools and accoutrements when schlepping.

I'd post a few pics of how I've got that organized but its in the trunk of my son's car (he lets me drive it nearly all the time because he rarely needs it) and he has the car today.  Imagine that, he wanted his own car for the day LOL!
A reusable grocery bag from Dollar Tree fits PERFECTLY in the other end of the crate and holds all my other tools in their containers.
I schlep my crates on this foldable cart from Harbor Freight.  The crates don't fit inside the edges and the edges are slippery so I am getting some stair tape (the gritty stuff) to fix that.

The sterilite crates are wide enough to fit my bats in.  I use pool noodles (pipe insulation also works) as rim protectors for bats in the crate.  I can't stack either of my 2 current crates because the tool box needs one crate and it sticks up too high, and the bats go in another crate and they ALSO stick up too high.  So I'm getting another crate which I will cut in half, slide the top into the bottom, cutout the bottom, and stack/zip tie it to my bat crate to make a deeper crate that I can now stack the other crate on top of.  Then I have room for a heavy duty milk crate with my clay and reclaim buckets in it (I have to schlep them as well).  I'm using 1 gallon buckets with lids from Home Depot when schleppage of reclaim is required.
This works way better than what I was doing before, I don't need a bunch of bungie cords to try to tie my stuff onto a regular hand dolly and I can just lift the crates off, fold the cart and stick it in the trunk, and the crates just go in there with it.  Fancy wheeled tool dollies don't work because they stick up too high to go in my trunk (plus they require major spendage).  The hand dolly folded, but I had to take the crates off to fold it ALL the way up (and messing with the bungies was a major pain) because even with the handle down it, too, was too tall to fit in the trunk with the stuff still on it.
I have various snap-closure boxes for whatever tools aren't in the yellow tool box, some from Dollar Tree and a few Sterilite items.  I have a pencil box with my ribs in it now, before I had most of my tools in various plastic food containers that were a pain to get open and closed.  My bigger ribs (bowl ribs too wide for the pencil box) are in a sterilite snap closure container.  And on like that.
Oh, and this is my favorite usage of a non-pottery item for pottery storage:

See those weird gumdrop shaped bags in front?  Apparently you're supposed to put bras in them.  I don't.  I use regular flat bags or the drum shaped ones if they came with a laundry bag assortment.  I got some of those gumdrop shaped bags in an assortment and they sat around unused - until I decided they were perfect for schlepping my sponges and chamois thingies so they could dry and not mold (yup, plastic food containers or any other sort of plastic box were not cutting it for my wet stuff).  Keeps them together, unlost, and unmildewed.  I have one set for dark clays and one for light.
And I use a yoga mat bag (that was too small for any yoga mat I actually owned after I washed it) to schlep my towels, the sponge bags, and whatever other odds and ends I feel like sticking in there.  Easily slings over my shoulder, and my spray bottle from Sally Beauty fits in there as well.  Makes it easier for me when I have to remember what has to go inside so it doesn't freeze in the car - and that would be the clay/reclaim crate and the yoga mat sling.
I made an anti-bat-chatter thingy from that waffle-texture shelf liner.  Also in the car so no pic.
I made a "bat mate" from fake chamois for washing cars, to see if its any help when trimming as some people say the real bat mates are.  Also it works by a different mechanism from the waffle-texture shelf liner one - that one you don't wet, it just helps reduce chatter/jitter by providing a bit of padding under those crappy speedball plastic bats.  If you wet the fake chamois it provides a bit of suction (under bats with a solid bottom, not the speedballs), helps to stabilize when the bat pin holes are a little worn or if the bat is just slightly warped.  I don't think anything will help if a bat is badly warped.  Haven't had a chance to try it yet.
I'm about to make several sticky bats using Harbor Freight tool box liner, neoprene, and whatever other likely substances I can find to try.  Cut out a circle and glue it to the top of the bat for trimming. The Diamond Core ones are crazy expensive ($72/12", $82 for 14"!!!). I could buy a baltic birch bat for less than that, DC has just glued their sticky stuff to the top of a plastic Speedball bat.
I find foam bats generally won't hold the piece evenly, one side or the other can sink too deep.  I do like them for drying platters/plates bottom up - the foam helps keep the rim from distorting. I have a sheet of foam SOMEWHERE and hope to make an extra large foam bat for that purpose.
Someday I hope to try the magnetic glaze dipping solution, but I keep waffling about whether or not I've found the right sort of neodymium magnets.
OH and I'm going to get my brother to make one of these (I hope):

The tongs on the right are made from regular tongs like on the left.  My brother is a machinist, I'm pretty sure he can do this for me.  The tongs on the right grip a pot from the inside, very helpful when dipping the outside of mugs and the like.  I'm also going to ask him to make me a triangular trimmer like this:

AND some steel banding strap chatter tools.
Which reminds me of another non-pottery tool that I have, the magnetic knife strip.  Perfect for hanging up your tongs, metal spatulas, and anything else with enough steel to stick to the magnet.

Went to a orthopedic surgeon last week. My biggest concern was some cysts that have appeared on the lt wrist, and the rt second finger knuckle. X-rays of both hands have revealed areas of arthritis on second joints of fingers. In the end the Dr. asked about my pain, I  answered that there was discomfort, not pain, and that I would work in the clay when things got sore and it would go away. He said that when it got bad to let him know and he could fix it.  How I asked? "fuse the joints causing the pain. I said Why  would I do that, as I got up to leave!
 
best,
Pres

Seems like a medical question---personally I would want to do some research into the specific condition and choose carefully what type(s) of health practitioner(s) I consulted.  Mainstream medicine did nothing for the type of arthritis I have, in a segment of my neck/shoulder, and in my right hand, but a year of  (insurance-covered) expert chiropractic treatment reduced it significantly, proven by x-rays. It is not gone, of course, but in over 3 years it has not progressed from that reduction and is nowhere near the pretreatment degree of pain and restriction of movement.  I am absolutely not offering a medical opinion--just sharing what has been the case for me, which has been counter to what I was being told by M.D.s., including that progression was inevitable.  Keeping my hand/fingers/wrist moving-including working with clay-is a recommendation for my ongoing flexibility. I do not throw very often; I handbuild. My most significant restriction is wedging, and I have found that the cut & slam method is the best technique for me.

I used to have a Shimpo stool but apparently it got lost in the last move.  They have Shimpo stools at the big studio where I go, and just folding chairs and wood stools at the city studio.  I think the Shimpo stools are stupidly over priced for what they are, the seats routinely split and expose the foam padding in nothing flat and they are stupidly difficult to adjust.  I have to take a chopstick to push the little buttons in - and then I can only do one side at a time, I have to get another chop stick and try to push them in from either side simultaneously, and as convoluted a contortion as that is, its the ONLY way I can do it at all.  $100 for what amounts to a bit of hollow metal with a thin padding on top ($70 on sale) is ridiculous.
So I got a mechanics stool that does not roll (or has locking wheels, I've forgotten which and its packed atm) from Costco for around $20 or $30 a few years back.  Then when I started working out of the city studio where they have NO chairs or stools really suited to throwing, I got a cheapy stool from the Dollar Tree for $5.  That's right - 5 smackaroonies.  It's lightweight, easy to schlep around, and if I ever leave it and it disappears I'm only out the 5 smackaroonies.
I had priformis syndrome this past summer - the irritation was initiated by sitting for hours on a cheapy "office chair" that had no padding worth the term in front of my computer last winter/spring (another thing that got left in the last move, all my good office chairs).  I didn't actually know what it was until I made the mistake of signing up for a class taught by a guy who thinks not telling his students what he's doing is somehow illustrative of something or other.  The particular exercise was, WITHOUT TELLING ANYBODY WHAT WAS GOING ON, to have the students play musical chairs and have to work on each other's lumps of clay.  I'm not five.  Plus I use my OWN bats and other equipment and to have rank beginners throwing water by the cupful on my good medex bats and carry off my personal tools (I permanently lost a rib and one of my sponges) was not much to my liking either.  When I DID NOT get up and start moving around the studio right away, he made a pointed remark about people who don't cooperate, and since I hate being the center of attention I ended up getting up and moving around the studio as well.  The constant up and down and having to sit on stools that had NOT been adjusted for me and the pain in my a... backside ... irritated the priformis syndrome to the point where I could barely walk.  It was 2 months before I could get in to physical therapy and I missed the rest of the class WHICH I HAD PAID FOR and only attended 2 sessions because after that I was back on the cane, schlepping through the grocery in a handicap cart, and barely able to tolerate sitting long enough to drive anywhere.  $100 in extra cushions for my chairs at home and 4 months of physical therapy later (still in physical therapy but its a LOT better by now) I'm finally back in the studio.
That stuff is no joke.  I've considered throwing standing up, but I have no way to brace myself.  Michael Wendt has a video showing his standing setup but I don't quite understand how it is set up nor quite how he is bracing himself on it, but if I could figure it out it would probably be a good idea.  But really, as long as nobody is making me get up every five minutes and switch to a stool that is at yet another height than the last and isn't set to the angle I've found best for me personally, so far, I'm good with sitting.
Sometimes he rests his arm on TOP of that brace, and sometimes he seems to tuck his elbow into it and lean over.  Not sure how I would go about setting that up and adjusting that for myself.  I do like the laser thingy and the editor of Pottery Illustrated should sit on it and rotate because *I* certainly am interested in how to set that up.  He's using cheap lasers from Harbor Freight for that, its not like he's using fancy-dancy lasers costing hundreds of dollars.  I think there's a brief discussion of the setup on his website. 
It would help if his videos had descriptive labels.  "DSCN0308' doesn't tell us much (that video illustrates his use of a metal pipe to flatten a large disk, he has a name for that that I can't for the life of me remember but it sure looks useful if you do a lot of platters or thrown bonsai pots).  Rod and stand?  I think?
A more thorough demonstration of that method - he talks about bracing for throwing while standing but you really can't see any of that in the video:
Rod and REstand is what he calls it:
 

Issac Button is an absolute beast! Love it.
I’d be inclined to use a modification of Mr. Button’s glaze method on the inside. Instead of swirling the glaze with a cup, get a soft squeeze bottle, like the kind you’d fill with ketchup or mustard, and put the pot on a banding wheel or slowly turning wheel. Squirt the glaze flow at the widest part of the inside of the shoulder as the wheel is turning, and let it flow down, and pour out any excess. When you dip the outside top quarter, roll the pot slightly to make sure the glaze gets the inside bit that’s still bare. 

@Kelly in AK Those are some really nice pieces!
At this point I think I'm just going to spray the whole inside and the rim/neck on the outside with a glaze and use the flashing slip over the rest.  That's assuming they get a compressor for the sprayer.  He says to spray the flashing slip at bone dry and its going to be awhile before that thing is bone dry LOL!
@Min He very well may be oversimplifying, and/or I am probably misunderstanding and misrepresenting.  I'm just trying to assimilate the flood of information!

This thread has been resonating!
I went to post-secondary school with Engineering candidates who had: never (or hardly ever) used a caliper, dial indicator, or micrometer; never read a vernier; to stop to think which way to turn threaded fasteners; little or no layout experience; little knowledge of lubricants, bearing maintenance, belt tensioning; little or no experience with any cutting tools; had little or no soldering, brazing and welding experience ...looked to me that "it's harder" without practical experience.
Hands on! "Learn By Doing" see also Cal Poly
How nice for students to have at least One Class they like and look forward to.
How often is "that one class" Music, Theater, Art of some kind, Shop of some type, Sport?
What are those type of experiences without the crucial performance, work/wares/product/piece, material and finishing, contest/activity?
...like pottery without a kiln.

https://www.amazon.com/gp/product/B077583GZD/ref=ppx_yo_dt_b_asin_title_o01_s00?ie=UTF8&psc=1
I use these.  I can fill them with whatever underglaze I choose.  I do a lot of drawing on both greenware and bisque with them.
 
Roberta

Another approach to consider is incising the lines, filling them with underglaze, then wiping away the excess. The drawing is different because you’re drawing into the clay instead of on it, but this technique can produce very fine, crisp lines. Lorna Meaden’s work comes to mind. The technique has its own learning curve, you’ll find yourself now looking for the perfect incising tool, haha! 
Underglaze applied using fine tipped applicators, like @Roberta12 mentions, are the best thing I’ve seen for no frills unencumbered drawing of fine lines. Underglazes are generally predictable and won’t run or bleed. The tools clog easily, so you need a straight pin or fine wire for a stopper when not in use. 

My vote is that it will not implode

Probably need two or three sets of hands to liner glaze that pot!
Maybe
  a) a piece of scrap carpet (or somewhat) on the floor to pad the base
  b) something to lean the pot on so it sits at 45° or so, and can then be tipped up and rolled along the length of, also padded with carpet or somewhat
  c) a long pan to catch the poured-out glaze
Pour glaze in, lean the pot over on the thing, lift the base* to the point where the glaze is about to pour out, roll the pot along the something whilst pouring out!
Voila?
 
*Risk, of course, that the pot breaks on the pivot point, hence, larger and softer could be better.

Nope. Bodies containing manganese shouldn't be fired over ^5 maybe a cool ^6. If you want that speckled look then find a ^10 body with iron particles for the ^10 soda firing.

@Pyewackette, +1 for just using a very light spraying of flashing slip.
Also, I would pour the liner glaze not spray it. When you spray inside a form such as a deep bowl or vessel there is a huge amount of glaze blowback coming back out at you. I'ld spritz the inside of the (bisqued) pot with water at the bottom and lower part of the wall where the glaze will be thicker and do a quick pour of glaze of about 1/3 the volume of the pot then very quickly pick it up and swirl and dump the glaze out to coat the inside. If you are using the same glaze for part of the top / outside then quickly dip that area after doing the liner.
I'ld also hold this pot back from your first soda firing. I would suggest taking some less precious pots, take some really good notes on what slips are on each pot, application details, where they are in the kiln etc. Learn as much as you can from the first firing, how other peoples pots turned out and any details you can get about those pots and the firing then apply that knowledge to the slips/glazes/placement/firing of this large one.

It sounds like at best, your tech is either grossly oversimplifying his explanations, or he hasn’t done a lot of soda firing. Or both. My wood fire and soda mentors all experimented with how different kaolins, feldspars and fuel types affected flashing slip recipes. The differences are indeed noticeable. Clay body also matters.
It is possible, under fairly specific circumstances, for a glaze that fits a clay body to pull apart a piece that’s only glazed on the inside. But the glaze has to be as thick or thicker than a relatively thin clay layer, and the piece in question is usually a wide flat piece with right angle walls. Often in this example the glaze will involve lithium as an ingredient. It does non-standard expansion things.
These are not your circumstances. These circumstances largely don’t occur in soda firing. I won’t say never, because we all know (or have been) That One Kid who did that thing once that still gets talked about.
If the walls of your pot are thicker than the glaze, which I would expect to be the case with a piece 3’ tall, you’re fine. 
If you want to highlight the texture of your piece, I think a light spray with flashing slip and carefully choosing the position in the kiln is a great idea. Sodium reacts with the clay body itself to form a glaze, which means that areas that are heavily exposed to the vapour can have sharp textures blurred. So you want to have the piece placed somewhere that won’t get fully blasted, but will take advantage of flame path depositing the vapour.
I suggest you’d want to avoid right in front of any soda ports if they’re spraying, or right in front of the bag wall if they’re dumping burritos or soda plaster lumps into the firebox. In either case, you also don’t want the piece to be right in front of the flue exit, but to one side of it could be interesting.
If there’s any salt in the mix, all bets are off and you’d need to ask someone very familiar with the specific kiln where the “wet” and “dry” spots are.
Soda by itself tends to be very sluggish in the kiln, which is why people either spray it, or mix it with water and something like whiting or sawdust that will help it disperse from the firebox more easily. So you can get some pretty pronounced flame records on soda fired pots. Salt will more or less explode when it hits a hot kiln, so it’s easier to get a more all-over coating, and it’s why it tends to take less salt to get an orange peel effect. A few soda artists of my acquaintance aren’t afraid to refire pieces that didn’t quite get the coverage they wanted on the first round. Most kiln bosses will prioritize items on their first ride through the kiln over re-fires though, so check with whoever’s firing the kilns what their preferences are.
 

@Kelly in AK Those are some really nice pieces!
At this point I think I'm just going to spray the whole inside and the rim/neck on the outside with a glaze and use the flashing slip over the rest.  That's assuming they get a compressor for the sprayer.  He says to spray the flashing slip at bone dry and its going to be awhile before that thing is bone dry LOL!
@Min He very well may be oversimplifying, and/or I am probably misunderstanding and misrepresenting.  I'm just trying to assimilate the flood of information!

It’s possible for glaze tension to crack a piece in half, but it’s unusual. For example a very thin piece, made of clay that’s over fired, glazed too thickly, glazed only on one side, and with a glaze that has very compressive fit is a good candidate.
That said, I do soda fire at cone 6, have done dozens of firings. My own work, my own kiln. Ninety percent of the work is glazed only on the inside and about 1” down the rim. A flashing slip is applied to wet and leather hard work (50/50 Helmer and neph sy). I’ve never had this problem in my soda firings. 
Michael Cardew discusses it in Pioneer Pottery, he treats it under the section on clay body defects and refers to it as “shattering.” It is a real thing, but generally happens under a particular combination of circumstances. I share his opinion that it’s best understood as a clay body defect. 

Aaand here is one result from my Throwing Big class.  Its not actually as uneven as it looks, I've discovered my cell phone camera tends to distort things if they're not just exactly head on and centered.  That thing is somewhere between 2.5' and 3' tall LOL!  I am disappointed in the rim.  I just couldn't find any way to get the nice rolled thick rim like I had on the vase-like object above.  This was accomplished by throwing about the bottom 1/3rd and then coiling up.
I'm hoping to put it in the next soda firing with some version of sprayed-on washes like iron and cobalt with some flux material to make them satiny but still show the texture.  Actual glaze would just hide the texture (and celadons are not an option because this is the old studio clay and it looks really crappy under a celadon).
I slapped on a lotta slip to do the texturing.

 

Zombie skin, I have that!
:|
I've been filling the chatter marks since early on, which prevents little micro-crawls, where the glaze didn't wet all the way to the bottom of the mark, and, there's opportunity for highlight/contrast.
At first I'd used underglaze only; now I almost always use a glaze.

Depending on the materials, the marks can be accentuated, muted, and somewhat in-between...
I'm dampening the area with a sponge bit, then floating the material on the marked area - wet brush, pick up the glaze/underglaze, flow it on - the material goes right into the marks, less so on the surrounding area. Then wipe all with a sponge bit, leaving the marks filled and the surrounding area clean.
Allow to fully dry, glaze.
I'm still working on technique - get the marks filled in less time with less waste...
The little round sponges that come with tool kits, they are good for wiping away!
However, cutting purpose shaped bits from a larger sponge works, thanks Bill Van Gilder for the tip...

I've tried underglaze, then coated on top with a clear.  Totally hid the chatter marks.  Well maybe not TOTALLY, but it just looks weirdly uneven. I didn't wipe - Hsin Chuen Lin doesn't wipe, but then he's Hsin Chuen Lin and he's not stuck using whatever ancient underglaze you can find that you have to reconstitute from a hockey puck once you do find it.  Also he remembers to put the underglaze on first, THEN chatter.  *sigh*  Really I didn't wipe because the studio clay body is so ugly and I was hoping the underglaze wouldn't melt enough to fill in the low spots, but with the clear on top it did.
The celadons have typically shown the chatter marks, but the studio clay body is REALLY ugly when fired, sort of a greeny-yellowy-gray, like zombie skin.  Light zombie skin at cone 6 and dark zombie skin at cone 10R.  Looks awful under green or blue celadon, I'm trying amber celadon as we speak, but shortly that won't be an issue any more given I now have the option of not-studio clay.  Honestly I don't think the celadons look very good on anything that isn't pretty white, but I HAVE PORCELAIN now so that might help. I couldn't figure out why it looks ok on the test tiles, then I realized - they weren't on the studio stoneware.  They were on the studio B-mix. And not noted as such. That is at the city studio, not the one I usually go to.  We don't have any test tiles to speak of at the main studio because they threw them all out and are making new in the course of getting rid of/replacing some of the old glazes and clay bodies.  Thing is, they don't even buy the B-mix for students at the city studio, just the studio stoneware body.  So why all their test tiles are on B-mix is a question for the ages. 
I've read about borax or TSP washes on here and would like to try those, partly for purposes like this but partly just because its a tactile thing with me - when the clay body DOESN'T look like zombie skin, I like for it to be partially exposed or rather FEATURED as part of the design, but I don't like the rough texture.  For instance right now I have a sake jar that is finely textured on the top half, I would like to do as you say, put on some glaze and wipe it off, but then I DON'T want to coat it with the clear because it is very glossy (we don't have a matte clear) and also seems to make an underglaze melt, who knows what it would do to an already melty glaze.  At least that is what looks like happened the one time I tried it over underglaze.  It didn't help that that underglaze also turned out to be an eye-searing orange.  I mean I want some color on my pieces but I don't want to be burning out retinas. Most of the underglazes in the studio were purchased for hand builders with, shall we say, a different aesthetic.  They're pretty bright.  Although I had one go black on me - also not desirable, it was supposed to be a sort of tan.
So I was thinking maybe a pigmented wash using Mason stain or whatever would not either turn black or disappear (iron oxide disappears under many clear glazes, I don't know if that's a zinc thing or a CaO thing per digitalfire), wipe, overcoat with one of those borax or TSP type washes, and I might get both the hint of color in the grooves, keep the texture visible, "feature" the clay on the high points, and still have a nice smooth satiny texture when you pick it up. 
Of course I don't know how to make any of those washes LOL!

Do transparent and/or translucent glazes show texture better?
Highlighting textures with contrasting washes/underglazes/glazes - put on, then wipe off, leaving some behind in the lower and rougher spots - may help. 

@Min Well thank you, I feel much less weird now knowing that an accomplished potter such as yourself has actually gone the  multi-kinds of flashing slip route.  I think his issue is that he thinks the flashing slips we have will be indiscernible from one another after firing, but then why do we have 3 or 4 slips that end up all looking the same, I ask.  I'm good with subtle differences, and if they actually DO all come out the same, where's the loss.
I actually would like it to get runny and yeah, there's plenty of room for it to run.  Don't want to glaze the whole thing because I don't want to lose all the texture.  Nearly all my textured pieces ended up with glazes that hide the texture.  I always wet my pots and I literally dunk in and right back out, no 3 second holds here.  I wait for the first dip to be pretty dry and usually do a second dip if the first looks kinda thin.  Not having my textures disappear under the glaze has been an ongoing struggle.

@Min Well thank you, I feel much less weird now knowing that an accomplished potter such as yourself has actually gone the  multi-kinds of flashing slip route.  I think his issue is that he thinks the flashing slips we have will be indiscernible from one another after firing, but then why do we have 3 or 4 slips that end up all looking the same, I ask.  I'm good with subtle differences, and if they actually DO all come out the same, where's the loss.
I actually would like it to get runny and yeah, there's plenty of room for it to run.  Don't want to glaze the whole thing because I don't want to lose all the texture.  Nearly all my textured pieces ended up with glazes that hide the texture.  I always wet my pots and I literally dunk in and right back out, no 3 second holds here.  I wait for the first dip to be pretty dry and usually do a second dip if the first looks kinda thin.  Not having my textures disappear under the glaze has been an ongoing struggle.

Personally, I think he's talking out of his .....sit-upon.
I do think not glazing both inside and out can cause glaze fit issues, but implode......
Test (in your own kiln) by making a small vessel, glaze as you want, put into a saggar and fire it.
 

Aaand here is one result from my Throwing Big class.  Its not actually as uneven as it looks, I've discovered my cell phone camera tends to distort things if they're not just exactly head on and centered.  That thing is somewhere between 2.5' and 3' tall LOL!  I am disappointed in the rim.  I just couldn't find any way to get the nice rolled thick rim like I had on the vase-like object above.  This was accomplished by throwing about the bottom 1/3rd and then coiling up.
I'm hoping to put it in the next soda firing with some version of sprayed-on washes like iron and cobalt with some flux material to make them satiny but still show the texture.  Actual glaze would just hide the texture (and celadons are not an option because this is the old studio clay and it looks really crappy under a celadon).
I slapped on a lotta slip to do the texturing.

 

I haven't circled back on the HardiPlank bats; I'd left the power sander at our son's house.
The test bats had a few quick swipes with sandpaper, which helps; I have one piece that's been more thoroughly sanded, but haven't put holes in it yet...
The HardiPlank bats do move(absorb) some water, more than my powderboard bats, but not as much as the plaster bats.
Hence, wiring off ware comes sooner than with powderboard bats, but they don't "pop off" like with plaster bats.