Magnolia Mud Research

You need a book that is written for UK available materials.  John Britt is fine in principle, but contains stuff we can't get.
The book you need to look for is Glazes Cone 6 by Michael Bailey.  (A quick google didn't find any for sale at a sensible price, but they do come up occasionally.  I bought mine 5 years ago, second-hand but brand new.)  

I have been down a similar route long ago:  make a round object (a piece  of stiff flat tarpaper); place on the soft clay; use a sharp cutting tool (I used a small sharp pointed kitchen knife) to cut the circle of clay.  Start with a large flat sheet of clay on a piece of dry paper or cardboard, use the round object and the knife to cut the clay with the knife;  when all of the coasters are cut, then remove the clay between the coasters leaving the coasters on the cardboard.  The coasters are allowed to flat all the time.  smoothed the sharp edges of the coaster after the bisque. 
LT
 

yes. try a pre-heat when you biscuit fire your pieces and that may help drive out some of the excess moisture.

So if we just look at the original recipe in this thread and your white liner the combined sodium + potassium are roughly about the same. My snowflake crackle (my current avatar) has the combined KNaO at 0.62 (in unity). Granted I fire at ^6 but if you look at all the recipes in Peter's link above or any other snowflake recipe the KNaO is much much higher than your original recipe here. My hunch is there is something else going on here. Another reason I'm thinking this is because of the 3% copper carb and the 10% zircopax. Colourants really do reduce the snowflake crazing patterning, which is a good demonstration of the power of some colourants to reduce or eliminate crazing. Just for curiosity's sake it might be fun to try the original base glaze w/without colourants, apply it really thick and see what happens.

If the new clay has been tested and is suitable for your tiles then I would be looking at adding either a small amount of a ceramic stain to the glaze or some copper carbonate. There are pro's and con's to both additions.
I looked up the SDS (safety data sheet) for this glaze and it doesn't give any hints on which is used.
Copper carb is prone to high amounts of gassing off which could leave pinholes or micro-bubbles in your glaze. I don't know how fluid your glaze is so this might or might not be an issue. If copper carb does induce this problem a change in firing schedule could alleviate it. 
A ceramic stain, probably from Mason Stains, is my other thought on what was used for the green colour in the glaze. Have a look at the Mason colour chart, find a stain you think is closest and purchase the smallest amount you can and try that.
Is your glaze is in liquid form when you purchase it? If so then you need some way of measuring the dry glaze. There are a couple ways to do this but the fastest is probably to weigh out some liquid glaze then dry it out then reweigh it. When you know X volume of wet glaze equals  Y weight of dry glaze try the copper carb at 1% and/or a stain at 1%. Fire those and then tinker with the amounts to fine tune the colour. (run the glaze through a 80 mesh sieve after adding the extra colourant)
If you purchase your glaze dry then easy peasy just add the extra colourant to a small test amount and try that.

I will sit and watch anybody who throws well but my sit and drool person was Robin Hopper.

I went to IG to see if there were more details in the artist’s description, and they do mention it’s a wood fired piece. The effects on Alex Olson’s pot are consistent with wood ash hitting the rim of the pot and melting inwards, changing that darker blue into a lighter one on the inner walls of the bowl. The crystals are probably from a slow cooling cycle, whether done intentionally or just through sheer thermal mass in a large kiln. Given Alex seems to be using a stoneware clay and the image Min found appears to be a white stoneware or porcelain, there’s a very strong possibility they are indeed the same glaze. I second her suggestion of contacting Clay Art Centre to see if they’ll share it. 
If you aren’t super comfortable doing that, it should be straightforward enough to recreate a similar effect. I don’t know that this recipe is a shino even by western definition, although someone may have started with one as a testing point and kept the name.  Shinos usually contain a lot of ball (or other) clay, and a lot of sodium bearing ingredients like Neph Sye and soda ash. So if someone lowered the clay so it doesn’t want to crawl right off the pot while it’s still drying could have resulted in a more translucent and fluid glaze. Adding a percent or so of cobalt would get you to this result quite readily. You could also take any number of amber glazes and substitute cobalt for iron in the colourants to get a glaze with similar potential to create this effect. 
 

To get a "blue" shino: 
Take your own plain shino glaze recipe.  
Add a "pinch" of cobalt to that glaze; make a test to see if you like the "blue";
If not enough blue, add another "pinch" of cobalt; if to much blue, use "half a pinch" (this is just like finding how much sugar you need in you coffee). 
warning: too much cobalt will produce black blue (or a blue black). 
the images are for cone 10 reduction on a studio clay body. 
one is plain shino, the other is shino with cobalt (aka blue):
 
LT

I've refired old and dirty bisques many times before.  Clients send me pieces from all over the world that are decades old and been handled with oily hands, etc.  I refire these clean as a matter of standard procedure before I attempt any glazing so that I know the bisque is super clean before I proceed.  I agree, wash off what you can but if the clay may be porous at all, do NOT SOAK in water.  Water can dissolve salts and calcium out of your clay so merely wash up with a scrubby and a little soap, then rinse.  Set aside to dry.  I use a heater fan to help such pieces dry faster.
If you don't want to wait days to be sure the bisque is dry enough to fire, I go ahead and load it up into the kiln and fire on a low temp pre-soak for a couple of hours  before going ahead with the new bisque firing.   Cooks off any moisture left but do it slowly.  Obviously that is not an issue if the ware is fully vitrified  but I advise it for porous earthenware.
If after firing you are left with any dirty grey ghost marks you may sand the bisque to remove it if the glaze or underglaze you plan to apply isn't opaque enough to conceal it.  Alternatively you can also add a layer of opaque white underglaze and fire that before you proceed with color.

Stories like that are somewhat fear-mongering if you ask me..  try living in the dusty desert environment without breathing it in for decades and decades .  we have no higher incidence of silicosis than any other part of the country or the world for that matter.
A nothing burger story. IMHO

If you only need a few of these circles or you don’t want to order a bunch of stuff, you can also make a poor man’s sticker.  Lay strips of masking tape onto a piece of wax paper and cut out your desired shape. Peel the shape off the wax paper backing and use as you would masking tape. 

If this object is solid, I would use a drill bit to drill a series of holes in the bottom of it to allow for steam to escape. They don't have to be large, 1/4 inch or so maybe four or five where they would not be seen well space apart in the bottom.
 
Welcome to the forum!
 
best,
Pres

Gravity is the big problem when gluing with a glazing. Geometry plays a big place in gluing also as the bulbous forms will have a tendency to slump., but then maybe you want that at times.
 
best,
Pres

Thanks for your reply.  I always wipe down my piece before glazing, but these pieces are really dirty.  I'll try the wash method and let them  dry in the sun:)

Most if not all of your pieces will probably be fine. Some glaze melting will start at bisque temps, but shutting down at those temps usually doesn't cause any problems. Start it back up and fire to cone 5.

I sharpen my trimming tools with a chainsaw file, and I do them when they feel like they’re starting to drag or I have to push too hard, similar to my kitchen knives. 
I use a Do All for most things, and I find they last about 18 months-2 years before the square edge is too worn to keep an edge. They’re about $20 Canadian, so I figure that’s pretty good value. Dolan doesn’t ship internationally.

If you have an area that you can't get clean you can always avoid setting a piece in that area.   I have a shelf that has some impurities in the shelf material that has come to the surface,  I can't grind it out so I just avoid that area.   Denice

I wouldn't mess with the one with the big black pits. The others you can grind smooth and then coat them with kiln wash. Any small amount of remaining glaze will absorb the kiln wash and stiffen up, and can then be re-ground and re-coated if needed.

Hi Carol and welcome to the forum!
What I used was computer paper and a circle cutter punch. Cut out the circle and used the surrounding paper with the hole cut out of it as a stencil. Dipped the paper into water, let it sit a couple minutes then applied it to the leatherhard clay with a damp sponge, let the surface water dry off a little bit then brushed the underglaze on.  (porcelain with spectrum underglazes)

Did you  solve the massive crazing issue you were having?
As a test I would suggest prepping the clay by doing a spiral wedge on a dozen or so chunks of your standard 1 lb weight then turn them on their side (so the spiral is not face down) when placing on the wheel head. See if that makes a difference. 

Hi Niraja and welcome to the forum!
Have a read through of this thread, @Magnolia Mud Research has a really good post on using soda ash as a wash.
 

There is another theory about pinholes in commercial brushing glazes that is not widely discussed. That theory holds that when the first coat of glaze is brushed on, there are likely to be some small voids in the coating that are nearly unnoticeable. When the second coat is applied, it doesn't get down in these little voids, creating air bubbles where the second (and later coats) cover them up. Late in the firing, the melt finally gets down to that layer, and the bubbles erupt out through the glaze. Just an idea. If you don't have trouble with this clay body pinholing with dipping glazes, you probably can eliminate the body as the problem and look towards your brush application.

Earthenware and bisque are so close to the same temperature, one firing will (should) be sufficient.  
At the centre where I volunteer, we fire both at the same time.
If you want it higher fired, it can be done in one firing, but must be very (very) dry.
 

If you follow this link you will see a free download link to 21st Century Kilns which has a lot of kiln plans including a wood kiln. Excellent resource. Cheers.
http://www.clayartarchives.com

We have plenty of freeze thaw cycles here in the high "desert". ..About 5 months worth yearly. Hence the cement plaster! But there are still high end homes  that are adobe and mud plastered. Its an aesthetic that some love and are ok with an annual coat of mud to keep it natural.
Once plastered the adobe will last for many years... ie; Taos Pueblo which has been around for about 950yrs... and they only use mud plaster.
Oh and there is stabilized adobe which has an asphalt product mixed in... the same stuff that is painted on below grade cinder block.