Min

I emailed Bailey Pottery Equipment and asked.
This is their response:

The tutorial I followed - they worked out great!

Have you tried something like DIY slab roller in YouTube?
PS More details of what is probably the PVC roller design
 

Velvet underglazes might be something to consider for sculptural work with no covering glaze overtop. Similar to a coloured slip but can be applied to clay before or after the first (bisque) firing. They are not shiny when left unglazed. They can also be used on top of glazes if the surface is on the outside of a pot where it doesn't come in contact with food or under a glaze (however it's typical to use a clear gloss glaze overtop of them for functional surfaces). They come in a huge array of colours and many stand up to high fire as well as midrange or lowfire work. Velvet underglazes are widely available, link to more info about them here.
It's difficult to recommend a specific line of commercial glazes as not all glazes fit all claybodies.

Linda Bloomfield put out an abbreviated Periodic Table for potter's. 
Transition metals are in the center lilac block of the chart, in particular the top row, these are the colouring oxides. Like has already been said some of these oxides are also used in their carbonate form. The more dangerous oxides are safest to use when in a ceramic stain, cadmium and vanadium for example.
 

Hello Nata. Welcome to the Forum.
Do you have access to Mason Stains?
I find Delphinium Blue, at 2%, and Best Black, at 1%, result in a nice dark blue. (Anymore black and it overpowers the blue.)
Vivid Blue, alone, is nice at 2-3%, for a deep blue, but not so "dark". (For that black is really necessary.)
If you don't have access to Mason you can look up their ingredients and guess from there. (As they don't list percentages.)
 

There have been a few ideas put forth when yarn/knitting bowls have come up on the forum before. A few things that have been mentioned are throw a bit thicker than usual, don't overfire, use a clay rated to a higher cone and fire under it's maturity, don't make the cutout to wide or to deep into the pot, press the area that tends to warp outwards in a bit after cutting the slot, leave a bit of clay in place near the top of the slot until the pot is dry then remove it. 

There have been a few ideas put forth when yarn/knitting bowls have come up on the forum before. A few things that have been mentioned are throw a bit thicker than usual, don't overfire, use a clay rated to a higher cone and fire under it's maturity, don't make the cutout to wide or to deep into the pot, press the area that tends to warp outwards in a bit after cutting the slot, leave a bit of clay in place near the top of the slot until the pot is dry then remove it. 

There have been a few ideas put forth when yarn/knitting bowls have come up on the forum before. A few things that have been mentioned are throw a bit thicker than usual, don't overfire, use a clay rated to a higher cone and fire under it's maturity, don't make the cutout to wide or to deep into the pot, press the area that tends to warp outwards in a bit after cutting the slot, leave a bit of clay in place near the top of the slot until the pot is dry then remove it. 

I'm not at all familiar with what is expected in Belgium but is your girlfriend expected to use commercial glazes rather than ones she has mixed herself or the studio glazes for her Masters?

Stacking the boxes of clay close to where the  wedging table will be saves carrying the clay further than necessary. Then having the wheel close to the wedging table and shelving or a cart next it if possible.  Is there plumbing on the other side of one of the walls that you can tap into? Good lighting is something I'ld add to your list also.
Welcome to the forum and congrats on the little one.

Nice work mug!
My Studio is one bay in a three bay garage.
Heating/cooling - an issue, at all?
If so, a mini-split may serve, which would very likely require addition of an electrical circuit.
While at it, place receptacles where they may be needed, at appropriate heights.
Comfortable temps really help.
Lighting has been mentioned.
The light from that one window - and the light from the windows in the garage door - is precious! ...and may influence the layout planning.
Work surface heights, that's an individual preference; it's important.
Air movement and dust control
Having some movement - doesn't take much - helps wares dry.
On the other hand, moving air can disturb/distribute dust.
Where floor and work surfaces are easy to keep clean, there's less dust.
Where's the kiln go?
How 'bout a door out the back to an enclosed patio (enclosed, but with provision to open up for max ventilation when the kiln is running)?
I liked having the kiln in the Studio for loading and unloading, not so much for how much room it took and having to manage the heat and fumes. Space. Heat. Fumes.
Is there water just outside the rollup door and/or the person door?
That would serve, however, a plumbed sink might be nice; the drain could/should go outside, or through a "French drain" or a clay trap...
Surround sound.
Great chairs that suit the workstation and the worker(s).
I'd think about getting a start on't, but not to lock in the layout, design decisions, workflow, colors, finishes, heights, which station gets which view, and, heh, everything.

Depending on the amount of pottery your wife makes, especially with a newborn, you might want to hold off on anything you might not use in another area of your life. If you get all the fun equipment right off, or buy everything brand new, it can be a big expense that can take a while to recoup. 
This cart itself may be a good investment, as post partum bodies can be very prone to joint injury for up to a year after birth, and longer if she’s nursing. But as far as things like studio shelving/furniture goes, see what you can diy on a budget. 
I think any kind of damp closet will be a huge help to her. Small children are very time consuming, and being able to slow drying was key when my kids were still tiny. 
The last big thing I’d recommend is to make a point of giving her guilt free time in that studio. Make sure that all the household stuff is taken care of and that she’s not worried about what she’s coming back to after her clay sessions. The best thing my husband ever did for me was to hand me a set of noise dampening headphones, push me towards our basement, and say “don’t come back for at least an hour. There will be dinner waiting for you.”

Thanks -- I just emailed them and will let you know what I hear.

Stacking the boxes of clay close to where the  wedging table will be saves carrying the clay further than necessary. Then having the wheel close to the wedging table and shelving or a cart next it if possible.  Is there plumbing on the other side of one of the walls that you can tap into? Good lighting is something I'ld add to your list also.
Welcome to the forum and congrats on the little one.

Hi Laurel, 
Welcome to the Forum!
I'll move your post to "Community Marketplace – Buy/Sell/Trade/Free" subforum.
You might include an image, if possible?
Here are a few archived threads featuring Estrin wheels:
Estrin Potters Wheel - Studio Operations and Making Work - Ceramic Arts Daily Community
Estrin Wheel - Equipment Use and Repair - Ceramic Arts Daily Community

you are doing a wonderful thing for your wife, she will love all of it.  since you know what kind of things she makes, get yourself a tiny pocket size tape measure and have it available all the time.   you never know when you will notice something that was never intended for pottery use and it is available free or used.   like the baker's rack in your photo.  you are setting of on a lifetime adventure, keep your eyes open and your imagination on alert for the unusual.  thrift stores have almost any tool you need in the kitchen section.
i use the baker's rack you show, it will hold a large number of things for me because i make very flat pieces.   others make mugs, vases etc. that are tall.  their racks might be the same overall size but only have six shelves.   you will not need to use the metal trays that hold food.   (more later.) use shelves of thick drywall, about 1/2 inch.   mine measure  17 1/2 by 26 inches and slide in from the smaller end.   the racks come in many different heights and they can support the shelves either way.   consistency is important because shelves can be moved from freshly made items to bisque or glazed racks depending on the layout.  sliding a shelf into a rack is so simple.   you do NOT need to tape the edges if you cut correctly.
buying the big items takes money and the way to save up for them means saving wherever you can.  buying from ceramic supply stores is necessary for specific items.   baker's racks do not need to be new.  maybe i paid as much as $50 for the first one, the rest were free.    i have about 5 of them, 4 use the same size shelves and can be used from the narrow end.   supermarkets replace their racks about every 7 years so look for some place that is about to remodel and suggest removing the old ones so they do not have to pay a disposal fee.
six feet long steel tables are from pizza kitchens, same remodel opportunity. 
*metal food trays might come with the rack but you do not need more than one or two.   if she uses hot wax it is much faster than painting wet wax with a brush and then waiting for it to dry.  a square electric frying pan or longer one fits on the metal tray and provides a way to carry it to a safe location when not in use.  the wax can be from half burned candles the thrift store is given but would not sell.  ask them to save them in a smallish box you give them with the promise that you will buy the full box for x$ if they will call you.
you are going to make lots of new friends at the thrift shops near you, broaden your horizons and have lots of fun, too.
 

@NotAPotter The damp closet is just a place that can stay humid, sealed off. No special equipment required. I use a plastic cupboard, but I did have to put a gasket on the door because there was a gap. I used a cast off wooden cupboard for years, when it finally rotted enough I switched to the plastic one. 
Yes, Hardie cement board is what I’m talking about. The 1/2” is smoother and doesn’t get saturated as fast as the 1/4.” The wedging surface should be absorbent so the clay doesn’t stick. Plaster is a traditional surface. Plywood gets saturated fast and gets sticky, and also eventually breaks down leaving splinters in the clay. Some people cover plywood with heavy duty canvas and that works, but it fills with clay and is a pain to clean.

Stacking the boxes of clay close to where the  wedging table will be saves carrying the clay further than necessary. Then having the wheel close to the wedging table and shelving or a cart next it if possible.  Is there plumbing on the other side of one of the walls that you can tap into? Good lighting is something I'ld add to your list also.
Welcome to the forum and congrats on the little one.

Hi Bonnie and welcome to the forum.
This looks like Hopper's recipe for mocha diffusion slip. When I used to do a lot of this I used custer spar so G200EU would be a good current source for the spar, for ball clay I used OM4, EPK for the kaolin and 200 mesh silica. I don't think it's really critical which spar, kaolin or silica you use, main thing is the ball clay. You are just going for as alkaline a slip as you can get, haven't used other ball clays so can't comment on how they would work. I've also used Laguna B-Mix as the base instead of Hopper's recipe, it works well too. A little tip, when you are mixing the "tea"  on add a drop of dishwashing liquid to it, makes it work even better.

I'm kind of hesitant to favour one over the other as I've used more of Tacoma's in-house mixed claybodies than from SPS. I tried half a dozen or so of the porcelains from Tacoma, settled on the Glacier and used that for a few years. It fires a grey white, not super white, nice body to throw. I also like their New Zealand halloysite body, super expensive but gorgeous clay. Maybe you could sweet talk Tacoma into shipping you a 50lb box of sample size chunks of clay so you could give them a try before driving there? It's a long shot but Laguna used to sell sample boxes so maybe??? If it fits it ships rate.

Linda Bloomfield put out an abbreviated Periodic Table for potter's. 
Transition metals are in the center lilac block of the chart, in particular the top row, these are the colouring oxides. Like has already been said some of these oxides are also used in their carbonate form. The more dangerous oxides are safest to use when in a ceramic stain, cadmium and vanadium for example.
 

I'm in BC, when I drive to Seattle it isn't much further to Clay Art Center so I usually do both on the same trip. SPS has a larger selection of pottery supplies but both are worth going to.  Is there anywhere in Spokane selling supplies?

Linda Bloomfield put out an abbreviated Periodic Table for potter's. 
Transition metals are in the center lilac block of the chart, in particular the top row, these are the colouring oxides. Like has already been said some of these oxides are also used in their carbonate form. The more dangerous oxides are safest to use when in a ceramic stain, cadmium and vanadium for example.
 

Hi Callie,
I use the Robin Hopper slip at 1.35 SG (without deflocculating and sieved through 60 mesh)  and put it on a leather hard vessel  (just after I put the handles on).  The wetter the clay is, the more time you will have for the chemical reaction to occur.  
I tried all types of acids but the one I liked the most was malt vinegar at 30% Mason Stain 6650 in 100 ml vinegar..  I see lately some people are using nail polish remover but I wouldn't use that with school students.