Magnolia Mud Research

How are you drying them?
If you are letting them dry by having the base of the piece on wood, plastic, or non-absorbent surface, it can be uneven drying. It would be worth letting the bases dry on pieces of drywall or cement board which are both somewhat absorbent. This lets the full bottom of the piece dry at the same rate as the rest of the piece.
You could do an experiment and make some pieces that are exactly the same, with bottom compressed by the same amount, and then let them simultaneously dry on different surfaces. I've not heard of anyone doing a nice, somewhat controlled experiment like that, but would love to see someone give it a go.  My personal hypothesis is that once you take some care to keep excess water out of the bottom, s-cracks are more about uneven drying than anything else. My pieces initially dry on cement board or drywall and I don't get s-cracks. Whenever possible, I let the pieces dry upside down so all surfaces are evenly exposed to the air. My bottom compression is minimal and mostly to just even out the interior bottom.

yep!
long ago the family was going to grow molds for some reason.  The setup was using a network of pipes that were connected with copper joints.  The joints killed the molds; took some time to realize that the joints were the problem.  When I was told why the molds died I started using copper wire stuck in the clay; the old mold died, and no more came back.  
 

One way to manage the stinky mold is to stick a couple pieces of copper wire (or use a copper container) in the slip and water (or hang Copper Pennies).  Most molds don't like copper. 

yep!
long ago the family was going to grow molds for some reason.  The setup was using a network of pipes that were connected with copper joints.  The joints killed the molds; took some time to realize that the joints were the problem.  When I was told why the molds died I started using copper wire stuck in the clay; the old mold died, and no more came back.  
 

One way to manage the stinky mold is to stick a couple pieces of copper wire (or use a copper container) in the slip and water (or hang Copper Pennies).  Most molds don't like copper. 

One way to manage the stinky mold is to stick a couple pieces of copper wire (or use a copper container) in the slip and water (or hang Copper Pennies).  Most molds don't like copper. 

One way to manage the stinky mold is to stick a couple pieces of copper wire (or use a copper container) in the slip and water (or hang Copper Pennies).  Most molds don't like copper. 

yep!
long ago the family was going to grow molds for some reason.  The setup was using a network of pipes that were connected with copper joints.  The joints killed the molds; took some time to realize that the joints were the problem.  When I was told why the molds died I started using copper wire stuck in the clay; the old mold died, and no more came back.  
 

Hi and welcome to the forum.
Im guessing you are raku firing?
If you want less copper colour from you green glazes then when you remove the raku pots from the kiln either reduce them far less or just let them cool without putting them in the reduction chamber.

Sam:
If I were doing what you are trying to do: I would do the following:
1. Use all of the dry ashes and the water that is use to suspend the solids in the glaze slurry.  I would also add some strong clear vinegar to convert the potassium and sodium caustics to netural that becomes dissolved into the glaze slurry. I would also measure the amount I use so that I would know the amount to use next time.   
2. Add about 4 grams of sugar for ever 100 grams of dry ash that is used for the glaze. The sugar will help keep the calcium in the dry ash from converting the glaze slurry to a solid lumps of concrete after setting for a day or so. If the slurry goes solid over night I would know I did not add enough sugar. The 4% is based on the assumption that the calcium compound is about half of the total weight of the ash. If the calcium were less than half I would use less sugar, and if more than half, use more sugar.   
My reasoning:  Loosing the potassium and sodium components is a waste; both helps melting of the glaze (think American Shino).  Calcium is a main ingredient for concrete and sugar slows setting of concretes; I learned that from a university professor that studied concretes; a bucket of such glaze with sugar survived half a year before I got bored with it and switched to a different base glaze.  
It is the potassium and sodium that creates the great coatings in wood fired ware along with the other elements released from the buring wood that also get cared to the surfaces of the wood fired wares.  If done right, using wood ash as a applied glaze one can almost make pots in a non-wood fired kiln that will appear to have been wood fired. 
LT
 

Callie, 
a story which has information about a clay in water: 
long long ago, but not to far away, I was still assigned to the refinery when one of the plant cooling systems was changed from deep clean cold water wells to river water that had a small but visible amount of yellow river clay suspended.   Shortly after the switch to river water, the plant heat exchangers began to plug with clay and the exchangers had to go off line to be cleaned (not an easy or low cost task). 
The lab was trying to find why the plugging was taking place and they were not finding anything about why the system was being plugged.  
A lab technician had put a bottle of the river water in the window to watch it over time.  After month nothing had changed, the clay in the bottle of water was still suspended.  Later on, someone decided to clean the window shelf and set the bottle of river water into the sink which had some warm water flowing through.  When the someone picked up the bottle to it back to the window shelf,   he noted that all the clay was now at the bottom of the bottle and the water was clear; and he came upstairs to tell me what he had found.  
my recommendation is to heat the slop water a little bit and see what happens.
if your clays are like my south Texas river clays, boiling is probably not needed. 
LT

Sam:
If I were doing what you are trying to do: I would do the following:
1. Use all of the dry ashes and the water that is use to suspend the solids in the glaze slurry.  I would also add some strong clear vinegar to convert the potassium and sodium caustics to netural that becomes dissolved into the glaze slurry. I would also measure the amount I use so that I would know the amount to use next time.   
2. Add about 4 grams of sugar for ever 100 grams of dry ash that is used for the glaze. The sugar will help keep the calcium in the dry ash from converting the glaze slurry to a solid lumps of concrete after setting for a day or so. If the slurry goes solid over night I would know I did not add enough sugar. The 4% is based on the assumption that the calcium compound is about half of the total weight of the ash. If the calcium were less than half I would use less sugar, and if more than half, use more sugar.   
My reasoning:  Loosing the potassium and sodium components is a waste; both helps melting of the glaze (think American Shino).  Calcium is a main ingredient for concrete and sugar slows setting of concretes; I learned that from a university professor that studied concretes; a bucket of such glaze with sugar survived half a year before I got bored with it and switched to a different base glaze.  
It is the potassium and sodium that creates the great coatings in wood fired ware along with the other elements released from the buring wood that also get cared to the surfaces of the wood fired wares.  If done right, using wood ash as a applied glaze one can almost make pots in a non-wood fired kiln that will appear to have been wood fired. 
LT
 

IMHO that really does looks like a bloat/bleb from an air bubble in the clay wall. When the glaze melts it seals the clay over so the gas can't escape and you get those bloats/blebs. 
After wedging your usual way try slicing a few chunks of clay up into thin slices and look for air pockets. Keep doing this until you can wedge without getting them. Try cut and slam wedging also if you don't already do this.
I'ld also suggest doing some absorption tests on your claybody given it is being fired below it's maturity, how to that here if you need it, about 2/3 the way down.

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

I agree strongly.  India ink enhanced crazing can be very dramatic and beautiful.  If you or the gallery owner can't live with the result, the ink will burn off if you refire the piece.

Please do post an update on the re-fire...

Rub ink into the crackles and say, “I meant to do that”?

Great question, and as you see, there are reasons for different answers.  I dip all of my test tiles, so the are the same on both sides. Then I use small shot glass type testers to see if the glazes interact with each other in weird ways. . . . why the shot glasses?  Easy to throw off the hump, simulate a pot form and allows me to test inside and outside combinations. Finally if there are any weird interactions from different glazes that may cause the pot to crack, craze, shever or anything else, the shot glass shape is more stable and will keep the glaze from doing too much to the kiln. Lots of them can be fired as extras in any load.
 
best,
Pres

While I’m one of the first people who will usually say it’s a bad idea to sell crazed functional ware, why are concerned about crazing on sculptural work? Sculptures don’t have the same durability demands placed on them as dishes. They might have their own durability demands if they’re outside, but I digress.

Soldate 60 is great stuff. It's a cone 10 clay but for sculptural firing to midrange would work too. I've known people use it for Raku firing also.

If you are firing in the cone 10 range and these clay items are just sculpture then Laguna's WSO is the most forgiving clay I have ever found.I feel Bmix with grog is not your best sculpture clay no matter what temp range-get a more loose body
It's more like a cement feel than clay and very tough to crack. I made a 3 foot wall fish from it and it came out fine spanning 3 -12x24 kilns shelves on a waster slab

An interesting thought if you have never done any sort of pottery maybe take a course or two if possible, to see what you may like. Learning to build a gas kiln and operate it reasonably proficient - maybe a year or two. Learning and becoming  proficient in all aspects of pottery - maybe a lifetime.

Also make sure your bat pins are tight.

When we produce a ceramic material that allows "light" to pass through that material we are working with a "glass" even though us potters call the material a clay body or a glaze.  
Todays "Ceramic-Tech-Today"  article: Colored glass: From alchemy to empirical chemical design  
https://ceramics.org/ceramic-tech-today/education/colored-glass-from-alchemy-to-empirical-chemical-design/   
has some useful information and background that might help determining why the bone-china pots show a color when seen in a light source.  Remember that the source of the "light" is also an important variable.  
LT
 

When we produce a ceramic material that allows "light" to pass through that material we are working with a "glass" even though us potters call the material a clay body or a glaze.  
Todays "Ceramic-Tech-Today"  article: Colored glass: From alchemy to empirical chemical design  
https://ceramics.org/ceramic-tech-today/education/colored-glass-from-alchemy-to-empirical-chemical-design/   
has some useful information and background that might help determining why the bone-china pots show a color when seen in a light source.  Remember that the source of the "light" is also an important variable.  
LT