Ceramics Monthly Articles (Simple)

Daily bisque firings, demonstrations for curious visitors at Wheaton Arts and Cultural Center in Millville, New Jersey, and the limitless potential found in making pots are the norm in Terry Plasket’s

Working as full-time artists grants freedom and flexibility to Drew Darley and Erika Novak, who make pottery individually and collaboratively as Round Trip Clayworks in Avon, Connecticut.

Jono Pandolfi and his team create utilitarian tableware for the hospitality industry and direct-to-consumer retail clients. The 7500-square-foot open-plan studio is organized so that clay comes in one

Images from Current and Upcoming Exhibitions

As a crafter of all sorts, I learn to incorporate various techniques into different media to get things done. I’m not the most confident when it comes to carving clay, so I needed a technique that wou

While we are all passionate about working with clay, some artists discover that they also have a desire to be self employed and earn a living primarily through making pots (and doing all of the non-st

Previous Ceramics Monthly Emerging Artist Alberto Bustos reflects on how his creative focus has expanded in recent years with influences that are both global and local.

Deadlines for exhibitions, fairs, and festivals.

Emerging artists Kate Marotz and Jacob Monroe share the clay, terra sigillata, wash, and glaze recipes they use to make their work.

Have you hit a wall in your home studio or feel less than excited when making? Consider reworking your surroundings with these simple but effective tips on creating an organized, motivating workspace.

Talc is a convenient and inexpensive source of silica and magnesium for both clay bodies and glazes. Its successful use, however, is widely different between the two applications.

I do not put limitations on what can inspire me; however, what is represented in my work are the common threads, the deeper roots that cross cultures. These represent the essential truths.

In my artistic practice, my main challenge is to create not an object, but a creature that can exist in another universe. Due to this purpose, my designs are primarily based on anatomical structures o

Color is deeply tied to place and memory, emotion, and nostalgia. When I use a pink mug, I remember the Red Dye 40–infused candy of childhood and the glowing pink of Denali, North America’s tallest mo

I handbuild my work in terra cotta because of its historical relation to the decorative arts—from its use in ancient pottery, to architectural facades, to red clay bole used in Medieval and Renaissanc

I use porcelain because of its characteristics, strength, translucency, and its white color. I make my ceramic art by using paper, cotton, and porcelain slip to form thousands of thin, circular porcel

Form, texture, tension, and balance are always at the forefront of our process. The function of a piece develops alongside form, sometimes in harmony and other times through tension. Harmony and tensi

When I was a child, I was the one to put on every single color, texture, or pattern from my closet. Color was a way of presenting how I felt; it was a way of talking without having to do so. I now mak

I draw inspiration from a variety of organic forms including coral, trees, vertebrae, chrysalides, shells, stones, and seed pods. My pinched pots must be functional and capture the making process in t

I am influenced by the imagery, objects, events, and experiences of my surroundings and use photography as a tool to design my work. Taking inspiration from 15th- to 17th-century production pottery, p