Pottery Making Illustrated Articles (Simple)

  • In the Studio: Mark Making with Colored Slips
    Slips and engobes are more or less the same thing, and some confusion exists over the use of the two words. Slips are predominantly liquefied clay; they usually are applied on wet to dry greenware.
  • In the Potter's Kitchen: Microwave Egg Cooker
    Since I’ve been investigating pottery forms for microwave use, I’ve found that a microwaved egg is a common breakfast, and a pot specifically for microwaving one egg is a popular item. There are whole
  • Pottery Illustrated: Stamping Bands for Rims
    Pottery Illustrated's Stamping Bands for Rims, created by Robin Ouellette.
  • Rosana Antonelli's Raku Dolce
    Rome is the Eternal City, where layers of history emerge endlessly in the shape of ancient arches, decorated columns, frescoed walls, and in a more domestic size as pots, shards, and fragments. Magnif
  • Canoe-Shaped Bowls
    One of the satisfactions that I get from teaching pottery classes and workshops is when my students challenge me to come up with fun, easy, and creative clay projects to construct in class. In doing s
  • 21st Century Stamping
    While examining the evolution of my ceramic work over the past few years, it’s very easy for me to trace a stylistic shift in my ceramic work back to my love of quilting patterns and Islamic tilework.
  • Handbuilt Envelope-Style Vessels
    I began my ceramic arts career as a thrower making functional wares, beginning with my first pottery class years ago in Colorado. Porcelain was my clay of choice, and my goal was to get thinner, highe
  • Expanding Your Underglaze Palette
    Sometimes a commercial underglaze straight from the container is exactly the color you need. But what happens when it isn’t? What if mahogany brown is the right color, but not the right value?
  • Updated Berry Bowl
    After years of enjoying washing fruit in a handmade, thrown berry bowl, I thought it would be a fun challenge to create an updated version of this form. Often, I find myself needing an extra hand in t
  • In the Studio: Discovery and Control
    There is more than one way to approach drawing and painting on clay. You can think about it in terms of imposing and relinquishing control. In one approach, the artist intuitively responds to the surf
  • In the Studio: Small-Scale Extruding
    Wish you had an extruder for a few projects here and there, but don’t need one for full-time use? If you’re going to use your extruder mostly for coils, handles, and other small, solid forms, you don’
  • Editor's Note: Idea Mining
    Ideas for art making don’t always come out of the blue; often they’re developed from visual, contextual, and material investigation.
  • In the Potter's Kitchen: Large Serving Platter
    A large serving platter comes in handy for a variety of entertaining needs. My wife and I love to use them for family dinners and entertaining guests who visit the pottery. I’m especially proud that a
  • In the Studio: Non-Functional Love Story
    I have a long history of using sculptural glazes with frowned upon or, more appropriately what I call “use with caution” materials, such as lithium carbonate and barium carbonate. These wonderful text
  • Lightweight Japanese Style Teapot
    Many ceramic villages in Japan are known for the durable, practical, and beautiful tableware that they’ve been making for centuries. They developed interesting and practical throwing techniques in ord
  • In the Studio: The Meaning of a Dragonfly
    The dragonfly was always a beautiful and mysterious creature to me in my childhood. Seeing this rare insect, would certainly make my day! Dragonflies symbolize prosperity, good luck, strength, peace,
  • In the Studio: Homemade Texture Paddles
    I have always admired images of ancient vessels from Japan and Korea that were constructed and decorated using paddles. Wanting to diversify my approach to decorating my own work, I recently started u
  • Finding Inspiration
    Before finding pottery I studied textiles and embroidery in college. The love of ornamentation, decoration, and attention to detail that I learned from textiles continues to offer inspiration in my ce
  • Balance and Counterpoint in Form and Surface
    I first became interested in handbuilding while taking Gail Kendall’s workshop at the Haystack Mountain School of Crafts in Maine. At the time, I was working mostly on the wheel with porcelain and I t
  • Detailed and Unstructured
    For me, one of the most challenging parts of making pottery is determining how to decorate my work. If the form is complicated, a simple glaze solution usually works best. If the form is simple, my po