Ceramics Monthly Articles (Simple)

All of us on the editorial staff look forward to seeing the emerging artists submissions each year. We’re consistently amazed by the variety and quality of the work that we have the opportunity to con

Robins use of color is improvisational, metaphorical, and decorative, and the resulting objects read both as paintings and sculptures.

Making a large wall piece out of hundreds of forms requires some serious planning, mapping, and methodical organization, along with a whole lot of patience and passion.

Kelleher’s soda-fired sculptures and pots contain stories both about their making, and about the lives of the people who use them.

Getting a studio together in pricey Southern California requires flexibility and creative thinking to squeeze all of the utility out of every square foot available.

Everyday we hear about new advances in technology. Processes like 3-D printing are now household topics, but still a magical novelty that open up a world of seemingly infinite possibilities. With all

Get an inside look at the intensive, yet self-directed approach one university in Japan uses to prepare students for life as ceramic artists.

After being featured as an Emerging Artist in our May 2002 issue, Martina Lantin’s work changed in dramatic, unexpected ways.

The difference between a good cup and an amazing cup often comes down to the foot. Learn how to make your bottoms as smooth as glass with an inexpensive grinder tool.

Combining the right materials within acceptable limits to make a workable clay body can be difficult and full of trial and error. Here are a few considerations and some helpful parameters to guide you

Hoogeboom’s jewelry, featured in a recent exhibition at Gallery Loupe in Monclair, New Jersey, uses ceramics and the history of its trade and production as both material and inspiration

Antoinette Badenhorst shares recipes for transparent glazes that work great with added colorants and when used over translucent porcelain.

When I fell in love with pottery, I was 18, already in art school, and searching for my artistic identity. I was idealistic and enamored with the romance and the anti-establishment statement of being

Following up on the financial assessment she did on her pottery business two years ago, Rhee shares the adjustments she’s needed to make to stay successful.

My studio since 2011 is about 430 square feet in size. I rent it from a carpenter who is running his one-man business on the ground floor. The house is located in a part of Bergen, Norway, unfairly ca

A recent exhibition at Gallery 224 at the OFA Ceramics Program at Harvard University in Cambridge, Massachusetts, focused on 40 artists exploring innovative trends in ceramics.

What started out as a solitary business that was focused on gallery and craft-fair sales has led to a collaborative one that focuses on retail, wholesale, and trade shows.

Kristen Kieffer reflects on the past 12 years of her career as a studio potter in terms of what has worked and when it was necessary to be adaptable.

My work is thrown on the wheel and altered using pressed coils. I throw up to 20 basic forms at a time, then alternate active working and resting of the porcelain over a six week period. Control of th

In response to a declining market, Greenwood switched his focus to creating tableware for restaurants, hotels, and cafes, as well as working with designers.