Ceramics Monthly Articles (Simple)

  • Tips and Tools: Cone Packs for Wood Kilns
    Cones are key in gaining insight into a kiln firing. How you assemble cone packs and where you place them are crucial for success.
  • Techno File: Copper Red Nanoparticles
    Copper carbonate plus a precise firing schedule can produce a vibrant, crushed-strawberry-like red glaze in reduction firings. But did you know the same result can happen in oxidation firings too?
  • Christine Nofchissey McHorse: Tradition and Reinvention
    Over the course of her decades-long career as a ceramic artist, Christine Nofchissey McHorse made vessels with influence from the Taos tradition and later turned to making sculptures.
  • Lane Chapman: A Powerful Touch
    Loose handbuilt forms in red stoneware become the substrate for layered slips, animal imagery, and accents of glaze.
  • Elbow Deep
    Wayne Perry addresses pervasive social issues including inequality and racism with humble terra-cotta clay as his material of choice.
  • Studio Visit: James Watkins, Lubbock, Texas
    In a three-part space split between wet-work studio, glazing and firing area, and gallery, James Watkins creates and displays large coil-built vessels, drawings, and pictorial tiles. Each piece draws
  • Clay Culture: Archeometrists and Clay
    In order to better understand ancient civilizations, scientists study the physical and chemical properties of ceramic artifacts. They use a variety of non-destructive methods, from X-ray tomography an
  • Clay Culture: Madrid’s Street Signs
    Third-generation Spanish ceramic artist Alfredo Ruiz de Luna González created 1500 ceramic street signs, employing traditional processes and capturing the visual character and history of the city.
  • Exposure: September 2021
    Images from Current and Upcoming Exhibitions
  • Quick Tip: Repurposing Kiln Stilts
    I’m a fan of using tongs for dipping smaller pieces in glaze. I appreciate the benefits of a consistent glaze coating applied in one swoop, ease of handling, no finger marks, and virtually no touch up
  • From the Editor: September 2021
    The long history of making objects out of red clay as well as the almost equally long history of firing at low temperatures has produced innumerable technical, aesthetic, and conceptual explorations b
  • Spotlight: A Sense of Calm
    Since being featured as a Working Potter in 2014, Yasha Butler has shifted the focus of her studio practice to minimalist sculptural vessels that quietly function in physical and digital spaces.
  • Call for Entries: June/July/August 2021
    Deadlines for exhibitions, fairs, and festivals.
  • Recipes: High-Fire Glazes
    Working Potters Natasha Alphonse and Terry Plasket share recipes for high-fire glazes they use on their functional work.
  • Tips and Tools: Low-Cost Table Tops
    Cement board is a great option for covering work surfaces in the ceramics studio. Durable, porous, and inexpensive, this substrate is key in the efficient workspace of potter Catie Miller.
  • Techno File: Water
    From hardness to source, there are many misconceptions and questions about the water used to make clay, slips, and glazes. Turns out, regular tap water is generally just fine.
  • A Dramatic Impact with Handled Bowls
    Deliberate work over a few years allowed Steven Showalter to synthesize his influences and aesthetic preferences into a distinctive personal style. He shares the techniques he uses to make square-rimm
  • Working Potter: David Kenton Kring
    Questions about return on investment and pandemic-curtailed event schedules led Kentucky-based artist David Kenton Kring to shift from selling work at art fairs to earning most of his income from onli
  • Working Potter: Shannon Garson
    After moving for her studies and traveling widely, Shannon Garson set up her studio in her hometown of Maleny, Queensland, Australia. Her diversified practice includes tableware, exhibition work, teac
  • Working Potter: Natasha Alphonse
    Creating work in small batches—as opposed to monolithic production lines—suits the working cycle and perpetual creative spark in Natasha Alphonse’s studio practice in Seattle, Washington.