Pottery Making Illustrated Articles (Simple)

Center 4 pounds of clay on the wheel and open the interior quite wide, to about 4–5 inches in diameter (1, 2). Begin pulling straight up until the cylinder is almost twice as tall as you want the fini

Saggar firing is the method of creating confined atmospheres in a kiln within a container or saggar. Depending on the type of firing, the saggar can be made out of anything from the traditional refrac

Probably by now every potter in the world is familiar with Chinese rice-paper transfers. They come in various colors, and there are many beautiful designs available, from flowers to insects to abstrac

My current work is inspired by the complex and gorgeous mandalas found in Eastern religions. Traditional mandala designs are circular and combine complex geometric shapes and patterns that radiate out

She encouraged our family to touch and use the pieces she collected. She influenced me visually and artistically by teaching me to use patterns and grids in needlepoint, quilting, crocheting, and knit

Ecology, landscape, and our evolving relationship with the natural world have always been themes I’ve explored in my work. With my illustrated wall plates, I try to capture the beauty and energy of th

High-fire terra sigillata? Is this even possible? Yes! Terra sigillatas remain stable from low fire through mid range to high fire. Because I fire in both low-fire electric and high-fire wood kilns, I

I’m currently using a combination of mishima, paper stencils, and sgraffito on my work. I’m inspired by human interaction with the natural world, and my origami crane design specifically relates to ar

I love piercing pots. I was first inspired by windows that looked dramatically different from the inside versus the outside. I wondered what the effect would be of making windows on a ceramic object.

Plaster transfer is a unique method of applying an image with fine detail onto a clay slab or tile with underglazes. Plaster transfers can be done by screen printing or painting an image (monoprinting

This year has tested us in so many ways; emotionally, financially, and morally. It has tested our trust in the cornerstones of society, while simultaneously reinforcing our dependence on community.

Excerpted and adapted from Deb Schwartzkopf’s new book Creative Pottery: Innovative Techniques & Experimental Designs in Thrown and Handbuilt Ceramics.

How do you hold your coffee mug on a cold day? Do you hold it by the handle, fingers safely at a distance from the hot surface of the mug? Or, do you slip your hand under the handle to keep your finge

I prefer working with handmade bisque molds to make my individual pieces. My basin bisque mold is the largest one in my studio. It’s a generous form that offers a variety of uses, both decorative and

Learning how I best work as an artist took some time. As an undergraduate student, I only experienced working in a communal workspace. As a graduate student, I shared a studio with one other maker for

Begin by throwing a bowl on the wheel. Since it will be trimmed into a dome and carved, I usually prefer to use smooth clay with little or no grog. The walls of the bowl should be fairly thick—I want

My pottery style has evolved over the years, but there has always been one constant: I have a passion for expressing traditional Japanese patterns on the surface of my pottery. To create the patterns,

I’ve been kurinuki curious for a long time. Much as I admired the work of artists using this technique, and wondered what it might be like to try it out, I didn’t think of it as something I would do u

A freshly made form, ready to decorate, etch, and carve, is an invitation to play. It’s such a pleasure to activate the surface with drawings and pattern. One of my favorite techniques is sgraffito, e

Cracks, cracks, and more cracks! Why do cracks happen? It could be that you’re working with a clay body that is prone to cracking. It could be the way you handled your clay during the building process