blackthorn

The next test will be using cling wrap fastened securely to a substantially supportive substrate.
Printing then dusting that.
Unfastening the cling wrap and transferring the image to one of my thrown forms, taking advantage of its incredible flexibility. 

Thank you Callie!  Absolutely!  I've been using multiple colors and have in mind to create a 3 or 4-color separation of the attached.  Keeping the slab moist without blurring existing image content is the trick.

Short version here, although I'm working on a detailed How To.
I'm printing on acetate, which is completely resistant to ink absorption.  Dusting 50/50 Mason Stain/ Gerstley Borate or Mason Stain/Frit 3124 through a screen onto the wet ink.
Tapping and blowing off the excess and applying to a semi-moist slab.  Carefully burnishing by hand, occasionally lifting a corner to check progress.  Repeating burnishing as necessary.

Thank you Peter!  I hope my short version matches your expectation.

Those are turning out amazing!
I wonder if you could build up more detail if you layer multiple images. 

After seeing the shortcomings of Cyanotype on clay at high temperatures, I've been casting about for another (non-toxic) way to get continuous tone imagery onto the ceramic surface.  I've been fiddling with dusting inkjet outputs with oxides or Mason Stain onto moister than leather hard slabs.  Attached are some recent results.  The process still requires more contrast in the working images than I want to end up with but it's getting close.  They don't photograph particularly well since they change considerably with the viewing angle. I like the 'relic' nature of them.  Sometimes l leave them out in the wild for some adventurous soul to stumble upon with delight and/or wonder ( I hope). 

After seeing the shortcomings of Cyanotype on clay at high temperatures, I've been casting about for another (non-toxic) way to get continuous tone imagery onto the ceramic surface.  I've been fiddling with dusting inkjet outputs with oxides or Mason Stain onto moister than leather hard slabs.  Attached are some recent results.  The process still requires more contrast in the working images than I want to end up with but it's getting close.  They don't photograph particularly well since they change considerably with the viewing angle. I like the 'relic' nature of them.  Sometimes l leave them out in the wild for some adventurous soul to stumble upon with delight and/or wonder ( I hope). 

After seeing the shortcomings of Cyanotype on clay at high temperatures, I've been casting about for another (non-toxic) way to get continuous tone imagery onto the ceramic surface.  I've been fiddling with dusting inkjet outputs with oxides or Mason Stain onto moister than leather hard slabs.  Attached are some recent results.  The process still requires more contrast in the working images than I want to end up with but it's getting close.  They don't photograph particularly well since they change considerably with the viewing angle. I like the 'relic' nature of them.  Sometimes l leave them out in the wild for some adventurous soul to stumble upon with delight and/or wonder ( I hope). 

After seeing the shortcomings of Cyanotype on clay at high temperatures, I've been casting about for another (non-toxic) way to get continuous tone imagery onto the ceramic surface.  I've been fiddling with dusting inkjet outputs with oxides or Mason Stain onto moister than leather hard slabs.  Attached are some recent results.  The process still requires more contrast in the working images than I want to end up with but it's getting close.  They don't photograph particularly well since they change considerably with the viewing angle. I like the 'relic' nature of them.  Sometimes l leave them out in the wild for some adventurous soul to stumble upon with delight and/or wonder ( I hope). 

Been a while since I was able to squeeze one of these into a firing.
Here's the latest test.  Exposing the cyanotype twice is helping keep the image from fading so much.
Next step is spraying a clear glaze over it to see if that will keep the image from evaporating during Cone 10 firing.  Leda is just so so  and the swan is fading, so I also think a less contrasty negative and a third exposure to build up the iron.  We'll see.

A belated posting on this topic.
Before and after of cyanotype on bisque - and re-bisqued.
My next test will be reprinting and re-firing, however many times needed to get the iron to build up into a less subtle image.
 

Been a while since I was able to squeeze one of these into a firing.
Here's the latest test.  Exposing the cyanotype twice is helping keep the image from fading so much.
Next step is spraying a clear glaze over it to see if that will keep the image from evaporating during Cone 10 firing.  Leda is just so so  and the swan is fading, so I also think a less contrasty negative and a third exposure to build up the iron.  We'll see.

I was recently gifted a pair of printers blankets for my slabroller by a very sweet forum member.
In the past I've picked up 2 kilns for free which we cannibalized for parts, dozens of batts from a guy who made speakers, (labeled) glaze chemicals, shipping supplies, foam offcuts from an upholstery place that I cut up for throwing sponges and shelving racks. I think thats the main things but I'm sure there is more.

Pop gave me an Optivisor, years ago, which I'd used for tying flies (fishing lures); now I use it for close pot examination.

The ground glass lens I'm using is 2x, handy for seein' crazing, small defects, etc.
A dear friend gave me a shoebox assortment of clay tools, some of which I use, particularly the mini loop tools - for carving brushed on slip.
The potter I'd bought a (very well) used kiln from gave me a few pounds of red iron oxide, some extra shelves, and several boxes of old cones - all being put to use.
 

I got my CI wheel from a friend who was cleaning out his barn on a newly purchased property. He said he would lend it to me for free for as long as I wanted it. That was more than 10 years ago and he has never asked for it back. I also got my first very old Cress kiln from an old ceramist who had 2 and didn't need the old one. I just had to haul it off. It was a ^6 kiln that needed elements and wouldn't fire above ^2 after awhile, so I sold it as a low fire kiln after I bought a lightly used ^10 Cress. I put an Orton digital controller on it and have been firing it to ^6 for 8 years.

I recall seeing this woman's extensive pursuit of additions to clay bodies. Plus I did buy her book. So, maybe this will have some useful information:
https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/In-the-Studio-Supersizing-Clay-Bodies#

I was lucky enough to acquire a very decent homemade wheel and a Skutt kiln from a  fellow potter who was moving and couldn't take it with him. Sadly I didn't have room enough for his homemade pug mill.  I use the wheel just for trimming since my other wheel was the very opposite of free.     I'm still coin hunting so I can pay for the 220 wiring for the Skutt.   Soon, though.

I was lucky enough to acquire a very decent homemade wheel and a Skutt kiln from a  fellow potter who was moving and couldn't take it with him. Sadly I didn't have room enough for his homemade pug mill.  I use the wheel just for trimming since my other wheel was the very opposite of free.     I'm still coin hunting so I can pay for the 220 wiring for the Skutt.   Soon, though.

I'm taking some liberty with the "free" part.  The gift that I use is not "in" my studio, it "is" my studio. The gift was me making it to retirement and having enough coin to install the studio & everything in it, in the larger bedroom of my trailor, & the kiln, which is on the formally open back porch, which I was able to enclose with restaurant patio-grade vinyl, essential for New Hampshire winters. Beyond that, my studio has a fair amount of useful things attained by "curb shopping". One find that I love is a green wire shelving unit, close to 5'x3' w/5 shelves,  that I scored from a convenience store (OK, that one was actual dumpster diving). It holds an amazing quantity of tools etc., many of which I also scrounged from here & there. 
 

I recall seeing this woman's extensive pursuit of additions to clay bodies. Plus I did buy her book. So, maybe this will have some useful information:
https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/In-the-Studio-Supersizing-Clay-Bodies#

I'm still chasing processes for imaging on clay and have come across another process.  Much like standard cyanotype but uses Ferric Ammonium Oxalate instead of the Citrate form and, it subs Anhyrdrous Ferric Chloride  instead of Potassium Ferricyanide.  So far, still using Iron salts.  However, after a lengthy exposure, it is developed with Potassium Iodide instead of plain water.  
The fellow who introduced me to the process says the Iodine seems to replace the Iron, which is not an encouraging outcome for my purposes in firing.  I'm going to test it anyway, but meanwhile, I'm wondering if any here have ever used Iodine in any formulas.  Other than medically of course. 
I've attached an example of my comrade's process on glass.

It's hard to tell from the pictures but if you look closely at the edge of the cracks is the glaze cut sharply across and not rounded into the cracks? Reason I ask is it looks like a cooling dunt to me. If the edges of the crack are sharp and not rounded over it means the crack happened while the kiln cooled, not on the heating up. Where in the kiln were the pots? top or bottom shelf pots worse? how fast did you cool the kiln? Is the outside of the pot glazed? Could you break one of those open and show the profile of the pot up close?
+1 for what Roberta said, gorgeous glaze!

The studio manager decided to toss the red earthenware because "nobody wants it" (ignoring that I've been ASKING for it since last Sept ).  I snagged about 30 lbs of it Friday but then I forgot to dry it before putting it in the bucket to slake.  So that's gonna be awhile.
So when I went in today I just asked for the rest of it ... AND I GOT IT!  Somewhere around 90 lbs of it ARRRRRRRRR!

Yeah, haven't gotten around to putting the baseboard back up but at least the tile and the new paint looks good!  LOL!
Soon, my pretties.  Soon you will be bone dry and ready for slaking.  Sleep, and dream of being orchid pots.  I know I will.
SOOOOON ....

I believe you fire to cone 6 @Crooked Lawyer Potter? Please correct me if I'm wrong on this.
I've commented before on why I don't care for the Stoney Matte recipe you posted above for cone 6 functional pots.
Given your comments about having limited understanding of glaze chemistry I won't enter this into a glaze calc program (like Glazy) but will try and explain why I don't expect this recipe to make a durable cone 6 glaze for functional pots by going over the percentages and materials in the recipe. 
So, having a look at just what the recipe is and taking it apart from there...
Stony Matte  (^6?)
Neph sye.    42.5
Kaolin.  24.5
Whiting.    17.5
Talc.   14.2
Silica.   1.3
First ingredient is just over 40% Nepheline Syenite. Couple potential problems with having so much Nepheline Syenite in a glaze, first off it's going to supply a huge amount of sodium to the glaze. Problem with this is if the glaze is fully melted (I don't think it will be at cone 6 even if it appears melted) it will more than likely craze. If it isn't crazing then that supports the argument that it isn't fully melted. When a glaze isn't melted properly then it will not be durable, this means things like leaching and cutlery marking. Second problem with having this much Nepheline Syenite is if you do get the glaze to fully melt (by adding zinc or boron, more in a minute) then it's more than likely to craze badly.
Kaolin, whiting and talc amounts are okay.  Given the amount of Nepheline Syenite plus having nearly 25 kaolin this glaze isn't going to melt without zinc or boron. Tiny bit of silica added but silica is also being supplied by the Nepheline Syenite and the kaolin. 
What is missing from this glaze is something to get a good melt at cone 6, that being either zinc or boron. It's my guess that this recipe was originally a cone 10 glaze that someone started using at cone 6 and it just isn't melting. Is this glaze white? If it is then there is another indicator it's very unmelted as there are no opacifiers in the recipe.
So, back to your question about adding silica to gloss up the glaze. Yes, this will work if the glaze has enough fluxes or boron to melt the additional silica. (Boron acts as both a glass former and a flux.) Problem is I don't think your glaze is melting well already, add some silica and it won't necessarily be able to be taken into the melt, which will just be exacerbating the issue.  Re your comment about the glaze looking like it's burned off, my hunch would be that in those areas the glaze is even more under-melted, it won't have burned off. I wouldn't try and fix this glaze with silica and or adding boron. I'ld look for a new recipe that has the qualities you are looking for and start testing that. 

there is a wonderful glossy white glaze in one of my favorite pottery books.  getting into pots by george and nancy wettlaufer.  published in the 1970s.  he explains glazes and how to adjust them in a very simple way.  i use that one, named XS for extra shiny, in all my bowls and it is excellent.  very white.  my clay is little loafers from highwater.  might not be available in Nowhere.
   XS  glossy white cone 6 
soda spar  (kona f4 is what i have)       40
whiting                                                                 20
silica 325                                                             20
ball clay (C&C is what i use)                    10
zinc oxide                                                             5
total                                                                      95
for white add zircopax                                20
i always throw in 2% bentonite when i mix any glaze.    any glaze because once was enough when i did not and created a solid rock that would not stay mixed.