Ceramics Monthly Articles (Simple)

Michelle Im’s current body of earthenware vessels grew from a cause-and-effect relationship between clay body and building process. Imagery from the natural world and Korean Buncheong ware inspire the

Deadlines for exhibitions, fairs, and festivals.

Jennifer Graff and Wayne Perry share recipes for clear glazes and slip they use to finish their work.

Cones are key in gaining insight into a kiln firing. How you assemble cone packs and where you place them are crucial for success.

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?

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.

Loose handbuilt forms in red stoneware become the substrate for layered slips, animal imagery, and accents of glaze.

Wayne Perry addresses pervasive social issues including inequality and racism with humble terra-cotta clay as his material of choice.

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

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

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.

Images from Current and Upcoming Exhibitions

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

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

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.

Deadlines for exhibitions, fairs, and festivals.

Working Potters Natasha Alphonse and Terry Plasket share recipes for high-fire glazes they use on their functional work.

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.

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.

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