Ceramics Monthly Articles (Simple)

Form and surface develop in tandem with each other, evolving my aesthetic proclivities through practical necessity. I slip cast my work, modeling the forms in clay with ribs and templates before producing molds.

My forms have a decorative, artistic dimension. I’m not keen on always making the same shapes over and over again. I like to try a variety of forms.

I use clay as a canvas for my illustrations, and my forms are often dictated by the imagery I want to paint.

There’s an extra level of excitement surrounding the May issue, which features the finalists of Ceramics Monthly’s annual Emerging Artist contest.

Working at Vostok, a shared studio in a historical textile building, has given Akane Saijo the opportunity to work in a creative environment close to home, make connections, and be stimulated by the city surroundings.

One of the biggest things ceramic artists want to avoid most is changing elements. It often eats a couple hours and costs a couple hundred bucks. Take a deep dive into element science and learn how to make your elements last longer.

Qwist Joseph describes the evolution of his artwork and career since being selected as a Ceramics Monthly Emerging Artist in 2016.

If you have access to a table saw and a drill press, you can make a bunch of bats in an hour or less.

As a committed fan of dipping glazes, I am sometimes confronted with a pot that is too wide for my hand to grasp to dip it into the glaze.

There are many ways that artists can and do make a difference in their communities, in the lives of people who experience their work, in the careers of artists who are just starting out, and in the advancement of causes and issues that they value.

Curious to know how much the glazes you are mixing in your studio are actually costing you? Determine your material costs and how to chart glaze prices to learn when substitutions could be beneficial.

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

Want to try a different firing type, learn some new glazing techniques, meet fellow ceramic artists, or just get away and immerse yourself in a week or two of all-day hands-on clay making? A summer workshop might be just the thing.

Function and form work together in my mind, and a love of texture directly informs the design of my pots. I strive to make the visual and tactile experience work together, so the user is invited to return and investigate further.

Images from Current and Upcoming Exhibitions

Creating evocative and compelling forms that challenge what we’ve come to expect from more traditional or industrial methods, he is an innovator in the field of mold making.

The advantage to a flat-top kiln roof is that it’s easy to construct and is lightweight, as each part of the roof can be handled by two people. Another advantage is the entire kiln only needs straight K insulating brick.

A new beginning portends opportunity, transformation, and growth. Making Place Matter is a starting point for, and a stepping stone to, more matter that matters.

By shifting the focus of learning ceramic techniques from the number of objects made to practicing process and developing a critical eye, your clay studio can become less wasteful.