Hulk

In the US at this point in time yes. I believe new regs are coming to some countries in Europe.
You can look at drinking water limits and compare them to ceramic glaze leaching figures from a lab such as BSC Labs which uses glacial acetic acid to drinking water to test for leaching. 

Lets not throw the baby out with the bath water.
Practicing good studio hygiene and using transition metals (colouring oxides) in reasonable amounts and the least possible amount to get the desired colour and making a durable base glaze fired to maturity will negate most concerns.
Anybody that uses bright reds, oranges, and even some of the yellow and green underglazes or glazes is using stains that more than likely contain cadmium (Cd) in the form of an inclusion stain. Far and away safer and less leachable source of Cd than than using cadmium oxide. Many bright aqua, green and yellow stains contain vanadium. Again, in a stain form far and away safer for both the potter during making the pots and the consumer because the stains are far less likely to to be bioavailable than using the raw oxides.
Lithium is found not only in lithium carbonate but also in spodumene, petalite, a few frits and lepidolite, it is not an issue as far as toxicity is concerned when used with appropriate studio hygiene and  reasonable levels. 
Barium is one of the oxides that most people who fire to cone 6 avoid in North America. 
Looking at the bioavailability of materials is important. Is the material bioavailable in the metallic form, oxide form, salt form or fumes? A material may be toxic in one form and not another. Manganese dioxide / oxide is an example of this. Manganese dioxide / oxide is not soluble in water therefore cannot be absorbed through the skin or even an open cut, and even if ingested cannot dissolve into the blood stream. Manganese fumes from the kiln firing however are bioavailable and harmful.  (Manganese salts, chloride, nitrate, or sulfate, are very harmful but as these aren't commonly used by studio potters not likely an issue for this thread.)
Having a base glaze with as much alumina and silica as the glaze can melt into the glassy matrix is really important to a glazes durability. If a glaze is low on either of these the greater the chances of it not being durable. Insofar as utilitarian ware a durable glaze needs to withstand both acid and alkaline attack, be non staining and resist cutlery marking. Doing a lemon/vinegar test will rule out glazes attacked by acids, keeping a sample of glaze in the dishwasher for many months will rule out ones prone to alkaline attack. 
"Limit" Formulas aka "Target" Formulas can be helpful to look at but there are many many glazes that fall outside the "Limits". What could be the most help to you  is to look at the silica and alumina levels for a durable glaze. Try to avoid glazes at or below the lower levels of alumina and silica in "Limit" Formulas. If you put a recipe in Glazy you can see the amounts of each oxide present in the glaze, take these figures and compare them to "Limit" charts. These Limit or Target charts have gone out of favour with some potters but I think they can be a useful tool to have in the toolbox along with others.
A lot of the highly visually textured glazes will be overloaded with one or more of either boron or one of the fluxes. Boron is necessary for all but Bristol type glazes to get a good melt at cone 6. Oversupplying boron can result in some really beautiful glazes but by oversupplying boron the resulting glaze will be soft and less durable. Getting to know what qualities each oxide adds to the glaze is really helpful.

Welcome to the forum 
 

Hi Bauhaus,
Whether store bought or mixed in your studio, you'll likely want glazes that a) fit your clay and b) behave well, per your processes.
Glazes from the same or different sources may, or may not, play well together in general, let alone how you wish.
Some glazes stay put well; others move. Some glazes react well with each other, some do not...
Transparent is typically used over underglazes but may not stay "over" another glaze.
For your clay (clays may be more challenging...), a clear glaze that fits well (no crazing or shivering), goes on well, fires well, and is durable and looks good - all important for functional ware. I developed a liner glaze over the course of several years...
There are many sources of info on glazes; this forum, and Tony Hansen's website are two.
Here, try some search strings to find archived threads that interest you, e.g. "crazing" and "glaze fit"
Tony Hansen's site, see the Articles sub menu, also the Troubles sub menu, Projects, Recipes, etc.
Where do I start in understanding glazes? (digitalfire.com)
 

I cannot choose.    It's the whole thing for me.
r.

There are two things that intrigue me. I get excited when I see a pot that looks highly functional, and I can picture myself using it all the time. And I get excited when I see someone doing something truly original. It doesn't need to be strange or avant garde to be original. I just like seeing evidence of someone pursuing their own vision, and not just trying to emulate known styles. Like others I'm having a hard time deciding if form or surface are more important. Functionality and originality require both elements. . 

For me I would say form first, from afar it’s the primary attractant. Surface and decoration are supportive … and….. sometimes good from far turns into far from good. Both are equally important though, but my first impression is generally to be attracted by the form which could include display, lighting shadows etc… bad surface can ruin a great form though.

I work hard on the functionality of the form 1st. This is a key part of my work-it has to perform as intended well. The glaze also needs to fit into that process. It needs to add to the  form in function then at the same time be spectacular . That will make it sell well work well and make for happy users
I like the forms to clean easy on fluids inside and look snappy on the outside which is the second process after the functionality of that form

@Pyewackette Never said in the lead in discussion before I asked the question that Surface was only about glaze, Surface for me is about texture, pattern, movement, direction, shadow and reflection, color, shape, line and so much more.  At the same time Surface and Form are parts of the same entity . . . ceramic object.
 
 
best,
Pres

I don't see how they can be separated.  Also - surface doesn't HAVE to mean glaze.

Been thinking (on an' off) 'bout this one, and although I'd like to proclaim that form is first, Min's chicken/egg is where I fall back to, particularly when looking at pots. That the form is first in fact - temporally - well, there's that; for working with pots, form is first for me.
There is, often, something compelling about an oops pot that makes it special, hearty agreement there.
Just over four years ago, found this forum (looking for wheel, then kiln reviews and info); am still finding the topics, posts, personalities ...interesting, thought provoking, informative, compelling.

Been thinking (on an' off) 'bout this one, and although I'd like to proclaim that form is first, Min's chicken/egg is where I fall back to, particularly when looking at pots. That the form is first in fact - temporally - well, there's that; for working with pots, form is first for me.
There is, often, something compelling about an oops pot that makes it special, hearty agreement there.
Just over four years ago, found this forum (looking for wheel, then kiln reviews and info); am still finding the topics, posts, personalities ...interesting, thought provoking, informative, compelling.

Great image! The good news, the flywheel is open so no need to remove, bad news the entire assembly is loose now. It’s got a plate with welded nuts and the whole assembly slides which likely means - careful - everything will fall through. Remove belt, likely loosen tensioner, reposition Flywheel and with your third hand hold nut plate and install bolts from top. Just kidding about the hand thing, looks a bit awkward, reinstalling may take another set of hands though or creativity to hold / prop stuff till bolts are started in the top. I think I would remove forward tensioner nut and washer completely leaving the stopper nut where it is. That way I could reinstall tensioner to its original tension without counting turns of the nut. That bearing assembly looks very sealed with no provision to lubricate, I am thinking the bearings are permanently lubricated and sealed.

Hi Linchimb,
Aye:
"Remove splash pan and loosen all 4 bolts under the wheel head. Caution, Please be careful not to loosen too much. Loosen bolts. Do not remove completely. Spring inside the main body automatically adjusts tension of the belt."
I'm not finding any diagrams depicting the auto tensioner/belt/pulley details...
Ah! Try searching "shimpo rk 55 belt replacement" - I'm seeing three images depicting the underside, with cover removed.
Here's a snip of one of the images I found:

Looks like the bearings, shaft, bearing holder casting, pulley, retention plate assembly is designed to move/slide - the spring provides the desired tension, eh?
You might try removing the cover, lining it up, starting the bolts, and voila. That retention plate may have fell, now hanging by the spring and perhaps against the pully.
Be careful re-attaching the wheel head; looks like the bottom part of it is machined to be parallel with the working surface, hence it must ride flush on that large washer, which I assume sets on that bearing. No doubt you want the wheel head to run true, no wobble.
If you turn the machine upside down, look to avoid banging the shaft or the wheel head on the ground.
Good luck, please report back how it goes for you.
I'd use anti-sieze on the threads and the shaft/wheel head contact, grease between the big washer and bearing.

A 4” square of chamois, or artificial equivalent as for car washing, in my right hand for throwing. It delivers a minimum - just right - amount of water to the pot and can wrap around fingers that could be abraded by the wheel head.
Needle tool. It’s handy to put the back end of wood-handled needle tool in the pencil sharpener to make a it a reversible drawing/decorating tool. For throwing and handbuilding. 

I have a small thumb tool that is almost worn away,  I have bought replacements for it but they don't feel right.    Denice

I think the other side has nuts. I believe you will need to remove the cover on the bottom and maybe the flywheel to get to them to reinstall. Good time to see if the belt has a crease in it from storage which might work out after running for a bit. Take pictures along the way, mark anything that will help you reassemble, it should be fairly straightforward. 

@Linchimb Really sounds like belt noise because of the speed difference. Did you inspect the belt? New bearings generally come pre lubricated and shielded so not something someone can lubricate easily.
one member solved this by running her wheel for hours until the belt wore in 
“[UPDATE] I ran my wheel for 7 hours at high speed and the knocking sound stopped. It started to dissipate around 4-5 hours in. Now it's operating without the annoying sound and just regular wheel hum. The belt just had to "warm up" and become more flexible again after having sat in a box for a while in one position—it had to loosen a stiff "kink" from being stored before purchasing. 
Edited yesterday at 05:14 AM by nattergab “

Several!
Large sponge*
Needle tool - made from a small screwdriver, the end ground to a point - the handle and overall length is "just right" for me
Two wooden knife tools
Metal ribs - for exterior, I'm wearing away inexpensive generic kidneys now, preserving the more expensive brand name bowl curve one for interiors only
Trimming tool made from a hack saw blade
That's five, aah, yep, I need them!
There are a few other tools that see frequent use - bit o' chamois, cheap plastic caliper, ballpoint pen, loop trimmer, chattering tools (made from hack saw blades), wood ribs, drill bits, small kitchen knife - it'd be tough without the five tho'...
*I cut a very large sponge into two somewhat large sponges, one to use while working, the other sits in the corner of the built in splash pan, where I set tools that are difficult (for me) to pick up. Smaller sponges also cut from a very large into purposeful shapes and sizes; I use a rounded corner bit a lot.

Several!
Large sponge*
Needle tool - made from a small screwdriver, the end ground to a point - the handle and overall length is "just right" for me
Two wooden knife tools
Metal ribs - for exterior, I'm wearing away inexpensive generic kidneys now, preserving the more expensive brand name bowl curve one for interiors only
Trimming tool made from a hack saw blade
That's five, aah, yep, I need them!
There are a few other tools that see frequent use - bit o' chamois, cheap plastic caliper, ballpoint pen, loop trimmer, chattering tools (made from hack saw blades), wood ribs, drill bits, small kitchen knife - it'd be tough without the five tho'...
*I cut a very large sponge into two somewhat large sponges, one to use while working, the other sits in the corner of the built in splash pan, where I set tools that are difficult (for me) to pick up. Smaller sponges also cut from a very large into purposeful shapes and sizes; I use a rounded corner bit a lot.

My left hand in the right place.
The right hand handles the "tools" but the left hand holds the clay in the proper place.  
LT
 

Hi folks, I was working a workshop this last weekend, talking about tools, when it hit me that I used one particular tool in preference to most of the others. This got me to wondering if others out there have a "go to" tool. A tool that you turn to whenever working with the clay because it seems just so right. My tool is the spoon end of a bamboo spoon from a moderately priced bamboo kitchen tool set. I use it to open up bowls and dishes, either flat or deep bottom forms, to shape/inflate pitchers and vases, large or small. It is almost the entire tool set in many cases. My second most favorite tool is a throwing stick that I use to open up chalice cups and mugs along with the occasional bottle form.
QotW: Do you have a favorite tool for throwing or hanbuilding that you can not do without?
best,
Pres

Interesting question!
For me it is surface rather than form. I admire a well made pot, and while one should not try to cover up a poorly made pot with glazes or underglazes, I think the true personality of the potter and the pot is seen in the surface details. 
Betty

My so-called "Artist Statement" is WYSIWYG: It's Intentional. 
For me, the aesthetic decisions that comprise making work are:  some external or internal sight/sound/thought that generates some spark that--often unbidden--presents itself as having something to do with creative expression; conscious reflection/idea exploration;  maybe a dose of nostalgia (anything from the warm & comforting "happy-happy" to the icy fire of the worst of the worst);  hopefully some well-reasoned discernment and, then; physically & mentally attending to form and surface (I don't think of glaze as surface, only the clay body),  and finally;  anything applied on top of the clay, including glaze and any after-fire embellishments.

I find this to be a bit of a chicken or egg question. I love the look of pots when they are freshly thrown. I see bisque as a bit lifeless and glazed pots, like we all know glaze(s) can make or break a pot. Years ago the local potters group I used to belong to had a hands on project where we all make a bisqued mug or two and then put them on a table and someone else took the mug home and glazed it. It was interesting to see my familiar mug shape with someones else's glazes on them. Functionally they were fine but they didn't look right to me. Tying this back to the QoTW, I think that we consider the finish (washes, glazes etc) for a piece before or as the pot is being designed or formed. For finished work I don't know if there can be a conscious decision to separate the two during the first initial look but I'll definitely look past the surface to the form if given the inclination.

I think that it's the glaze that makes the piece. No matter what you do the piece, it's the glaze and what you do with the glaze that gives the piece its life!

A perfect pot is one that with "imperfections" galore and is interesting! 
LT