Ceramics Monthly Articles (Simple)

Discover what a difference switching out just one material can make in a glaze. Below, the same base glaze is used but varying amounts of titanium and tin are swapped in and out with surprising results.

Audra Doughty shares go-to glazes used at Mud Queen Pottery. Learn more about her community and personal studio spaces in this issue’s Studio Visit.

Extreme budget cuts implemented by West Virginia University’s administration have shuttered many of its programs. Ceramics area coordinator and professor Shoji Satake describes the situation and its impact.

Devoted time and space to pursue your practice—sound appealing? Learn more about residencies here.

Information on submitting work for exhibitions, fairs, and festivals.

With some scrap wood, a few tools, and 30 minutes or less, make large bats for throwing large forms.

There are many types of iron available to use in glazes. Learn how much to use and with which materials to create a great celadon/chün glaze.

Considerations for the technical, material, and practical guide the design decisions in Ernest Miller’s wheel-thrown and altered pottery.

Travels to Japan, Finland, and France after completing university in the UK proved to be instructional and influential for Michelle Freemantle’s practice making functional pottery.

Based in Mannheim, Germany, ceramic artist emmanuel boos creates balanced compositions of slip-cast and altered porcelain bricks and cobblestones. Each installation recalls rhythm and cadence through color, arrangement, and gesture.

The Consortium for Intercollegiate Research in the Ceramic Arts (CIRCA) is a newly established exchange and networking program between six university graduate programs.

In a new and distinct body of work, Wally Schwab explores the possibilities of depth and subtlety in matte-black glazed surfaces of platters and vessels.

In a practice split between her basement home studio and the community clay space she owns and operates, Mud Queen Pottery, Audra Doughty creates functional pottery decorated with high-contrast, vibrant motifs.

The Memory of Mankind project endeavors to safe keep histories and information for future generations. Engraved ceramic tablets and tokens lend the inherent archival quality of vitrified clay to this effort.

Images from Current and Upcoming Exhibitions.

When I first began creating ceramic jewelry, having the backs of my pieces glazed was important to me, particularly for earrings.

The artists in this issue who describe their own journeys of learning through clay have diverse backgrounds in terms of formal education, experiential development, and how they presently interface with the community.

Returning to her grandfather’s farm, Glynnis Lessing embraced the opportunities to forge connections within her community, reconnect with family history, and take inspiration from her lush surroundings.