Pottery Making Illustrated Articles (Simple)

This tutorial provides step-by-step instructions for sculpting a bas-relief medallion. My inspiration for the project was drawn from 19th-century bisque reliefs.

This issue celebrates handbuilding techniques with several unique approaches to forming pots.

Collaborative ventures in the pottery industry can be beneficial partnerships between individuals, studios, suppliers, educational institutions, or community organizations that share common goals.

This article offers a variety of handles that will add to the uniqueness of your cups as well as ensure they effectively serve their purposes.

Preparing a slab with layers of colored porcelain slips, rolling it to reveal hidden bits of color, cutting the strips, and compressing them onto a bisque mold creates a predictable process.

The steps of carving and uncovering these basins emerged from my digging into this question—in the romantic dream of being enthusiastically entangled in my studio.

I find a unique freedom in handbuilding and will turn to it when I need a break from the constraints of the potter’s wheel.

One of these resources is a commonly overlooked item that we rely heavily on for shipping, but rarely use in our craft—corrugated cardboard.

This article will focus on creating a simple, altered, handled cup form and then highlight how slight variations on a form can add variety and interest to your visual portfolio.

I’m inspired by clay above all else. It’s always reporting new information back to me.

Illustrations depicting Japanese teabowl feet.

I’m especially drawn to shifts in agricultural patterns throughout the year. From the furrowing fields in the spring prior to planting, to the russet-brown stalks of a soybean field ready for harvest.

Drawings adapted from Robin Hopper’s book Functional Pottery, published by The American Ceramic Society and available on the Ceramic Arts Network Shop at https://mycan.ceramicartsnetwork.org/s/product-details?id=a1B3u000009udpuEAA.

I have always had a strong interest in printmaking as well as ceramics, and gravitated to sgraffito as a way to combine high-contrast graphic imagery with three-dimensional form.

Lidded vessels have always been a large part of my studio practice. Storage vessels captivate my attention due to the precision needed to throw technically complicated components.

The wall pockets I make are thrown on the wheel as a closed form and then trimmed and altered at the soft leather-hard state.

Shepherding a plate from start to finish is always a challenge, but in the soda kiln it can be perilous. A plate’s horizontal planes are less likely to catch soda, more likely to catch detritus and debris, and often succumb to warping.

The candelabra consists of three stacked parts: a hollow midsection, a pedestal, and candle cups.

I’m attracted to the way it can easily wrap any form, as I continue to explore continuous patterns in my work. Using dynamic patterns highlights the surfaces of my pots and creates a varied tactile experience through use.